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The Third Degree à la Germany
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Junge Freiheit is Germany’s finest weekly newspaper. It’s easily its only authentically rightist, freedom-loving, classically liberal publication. When Junge Freiheit’s editors come calling; this writer is always happy to oblige—and not only because my weekly column once appeared in JF. But also because, present company excepted, the young editors at JF are simply the kindest, most professional journalists I’ve encountered. What was it that Oscar Wilde said about kindness? “She thought that because he was stupid he would be kindly, when of course, kindliness requires imagination and intellect.” Having just emerged from a 15-year-long, abusive, professional relationship; kindness and courtesy are indeed new and lovely things to behold.

However, my Teutonic editor lit a fire under me. I was asked to make haste in answering Junge Freiheit’s personalities-from-abroad questionnaire, for the November 11 issue. You’re in good company was his matter-of-fact message. But get to it.

The company: Nigel Farage (author of Brexit), Eric Burdon (rock-and-roll legend), Douglas Murray (famous neoconservative), Lord Christopher Monckton (politician and inventor), Thomas Drake (Whistleblower), Colin Crouch (author of “Postdemocracy”), Frederick Forsyth (bestselling author), Charlie Duke (Apollo 11 and Apollo 16 astronaut), Tony Sheridan (early Beatles), etc.

The record time for answering the JF questionnaire: six minutes. Needless to say, I failed miserably to best it.

 

JUNGE FREIHEIT: Where would you like to be at this very moment?

ILANA MERCER: I‘m strictly reality oriented. I don’t indulge in make-believe. I don’t wish to be where I’m not.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What would you give anything for?

MERCER: I’d give “anything” for freedom from The State, provided “anything” is a figure of speech (no limbs, eyes, etc.)

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What does home mean to you?

MERCER: My residence; my house—but also a revival of the thing Edmund Burke called “the little platoon we belong to”; namely an end to the centrally planned transformation of Western communities through forced integration and mass immigration.

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What do you consider important in life?

MERCER: Meaningful work, intellectual honesty (rare), close relationships, good health, my guns, my companion parrot (Oscar-Wood), related advocacy and charities.

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What did you learn from your parents?

MERCER: To think critically about everything, to read voraciously, to be charitable; the love of music and art.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What book has left a lasting impression on you?

MERCER: The concept of a Favorite Book is childish, if you’re a lifelong reader. Lots of books of political theory, philosophy and economics have indelibly influenced my thinking. Lately, it‘s been Clyde N. Wilson’s “The Yankee Problem: An American Dilemma.”

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What music do you like?

MERCER: Chamber music and Bach—any Bach—and the hard core, intricate, masterful brilliance of progressive rock outfits like Symphony X, Dream Theater, to say nothing of neoclassical guitar wizards like Sean Mercer, Tony MacAlpine, Yngwie Malmsteen.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: Which event in history has been the most incisive and far-reaching for the world?

MERCER: The advent of Communism. Its agents killed the most people and poisoned the most minds, for posterity. Communism/socialism continues to pollute every nook-and-cranny of state and civil society.

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What would you want to change?

MERCER: In the Declaration of Independence, Thomas Jefferson wrote “life, liberty and the pursuit of happiness,” instead of “life, liberty and property.” With that vagueness, Jefferson undermined the foundation of civilization: private property right.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What do you believe in?

MERCER: Individual sovereignty, secession down to the individual.

––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: Which values should we pass down to our children?

MERCER: Traditionalists value hierarchy. An infantile, immoral society deifies The Child. Kids should follow Florence King’s injunction that “children have no business expressing opinions on anything except, ‘Do you have enough room in the toes?’”

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JF: What does death mean to you?

MERCER: The end.

–––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

JUNGE FREIHEIT, z.Hd. Christian Dorn, Hohenzollerndamm 27 A, 10713 Berlin, GERMANY, November 11 issue, page 27.

 
• Category: Ideology 
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  1. Anon says: • Disclaimer

    Wonderful

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  2. Charlie Duke was CAPCOM for Apollo 11, so while was technically an Astronaut for that mission, he was not flight crew until Apollo 16. Still, not shabby company to be in.

    The question I wish they had asked was, “Why do you think Frau Merkel is seeking another term?” I figure it is because her work is not finished.

    Read More
  3. What kind of music do you like” : Bach

    Of course as JSB was the the epitome of a musical genius, however I am deeply perplexed at the fact that todays “Intellectuals” on the conservative side, simply have no interest or affinity for the “Classical” music of now, namely Jazz.

    In the jazz world there is a saying that “Bach was the first jazz musician”, and there are definite musical reasons for this conclusion, and I can remember that back in the sixties even army officers, I did a lot of gigging on US army bases in Europe, were well informed jazz fans, and today the sad truth is that the folks one would expect to at least be somewhat aware of this great american art form are totally ignorant thereof.

    Authenticjazzman, “Mensa” society member of forty-plus years and pro jazz artist.

    Read More
    • Replies: @Intelligent Dasein

    Of course as JSB was the the epitome of a musical genius, however I am deeply perplexed at the fact that todays “Intellectuals” on the conservative side, simply have no interest or affinity for the “Classical” music of now, namely Jazz.
     
    Jazz, like Classical music, can be a pretty intimidating subject for the musical neophyte. There's an entire history and culture and patois that one has to learn before he can even speak about the matter without embarrassing himself. Compounding this is the very "intellectualization" of the music itself, i.e. the inchoate sense that those who know this stuff really know it. Jazz people project an affectation that they understand chord voicings and scales and chomaticism to the same intimate degree that a professional mathematician understands the Riemann zeta function, and that their superior understanding elevates them to a plane of cool, aloof aesthetic transcendence. That's all part of the mystique of jazz, is it not? Among the great masters it may even be the truth, but for every "authentic jazz man" there are 99 pedants trying to scam the action. That kind of atmosphere can be rather off-putting to those who may not have the musical chops but who do possess a measure of dignity and decorum. Better to just avoid the whole scene than to rub elbows with a herd of annoying wannabes and be taken for one of them.

    And then, of course, if you go by Ken Burns, jazz is just another chapter in the great struggle for negro equality. Should an aspiring jazz aficionado attempt to acquaint himself with the subject by picking up one of these popular documentaries, he will meet only with the same tired tropes of the SJW brigade, and who wants to set himself up for that kind of disappointment?

    Since jazz is intrinsically a type of art music, it follows that its finer nuances cannot be appreciated by just anybody. Ideally one would have to have had a musical education starting in childhood, and a gradual, mediated exposure to the culture of which jazz forms a part. Then one would be able to reflect with gratitude on the gift he had been given---a deep and intricately molded soul that can respond to the world with the creativity and grace of a jazz improvisation. But the slow maturation of an informed aesthetic is not a process that can be rushed or skipped. If we find that there are few genuine connoisseurs these days, it is because the tree of culture is old and barren, hardly producing any longer her fabled fruits, and that is because the ground she grows in has gone sterile. I take it as my duty to re-manure the soil. If I cannot be a cultured man myself, I will fight for those simple things out of which alone culture grows---home and hearth, king and country, and religion. What was that famous quote of John Adams', "I must study politics and war so that my sons can study mathematics and philosophy"? Such are the times we live in and the calling of my generation.
  4. Indeed, I love much of what Mr. Jefferson wrote, but I do so regret the modification of that triad! Life. Liberty. Property: that “stool” crashes to the ground without ALL three!

    Incidentally, I was sad to see you leave WND, but rejoice that your writing is available here and elsewhere!

    Read More
    • Replies: @ilana mercer
    Thanks David. I did not leave WND, but that tale for another day.
  5. @David Smith
    Indeed, I love much of what Mr. Jefferson wrote, but I do so regret the modification of that triad! Life. Liberty. Property: that "stool" crashes to the ground without ALL three!

    Incidentally, I was sad to see you leave WND, but rejoice that your writing is available here and elsewhere!

    Thanks David. I did not leave WND, but that tale for another day.

    Read More
    • Replies: @another fred

    ...that tale for another day.
     
    I would like to read it.
    , @David Smith
    Like another fred, I, too, would like to read that sometime.

    Extending my ponderings on Jefferson, I wonder if he simply assumed too much, believing that Property was understood within his revised triad. I doubt even a Jefferson could grasp the extent to which centralizers would pervert these ideas!

    Likely Dr. Wilson has dealt with this in his writings.

    Thanks!

  6. JackOH says:

    ” . . . 15-year-long, abusive, professional relationship . . .”. LOL:) Back in the Paleozoic, when I was a youngster, I took a job as a technical writer. I thought I’d be doing something. I and the work I was doing became a point of contention between labor and management, without my quite knowing it. The executive who’d hired me hadn’t made me aware of that. There was plenty more.

    Long story short–I learned something from the experience. At least one of the things I learned was that many people, even some educated people, seem to believe writers squeeze words on to a page as one would toothpaste. The idea of some mediating intellectual and psychological processes doesn’t strike them.

    Read More
  7. @ilana mercer
    Thanks David. I did not leave WND, but that tale for another day.

    …that tale for another day.

    I would like to read it.

    Read More
  8. @ilana mercer
    Thanks David. I did not leave WND, but that tale for another day.

    Like another fred, I, too, would like to read that sometime.

    Extending my ponderings on Jefferson, I wonder if he simply assumed too much, believing that Property was understood within his revised triad. I doubt even a Jefferson could grasp the extent to which centralizers would pervert these ideas!

    Likely Dr. Wilson has dealt with this in his writings.

    Thanks!

    Read More
  9. JF: What does death mean to you ?
    MERCER: The End.
    I have always liked you, Ms Mercer, for reasons I have frequently commented on.
    I smiled when I read this. Judaism, generally, says that you don’t need to believe in God to go to heaven, if I may be so crude. Even atheists can go to heaven if they lead good lives. As a Christian, I tend to believe likewise. The Good in us survives.

    Read More
  10. @Authenticjazzman
    What kind of music do you like" : Bach

    Of course as JSB was the the epitome of a musical genius, however I am deeply perplexed at the fact that todays "Intellectuals" on the conservative side, simply have no interest or affinity for the "Classical" music of now, namely Jazz.

    In the jazz world there is a saying that "Bach was the first jazz musician", and there are definite musical reasons for this conclusion, and I can remember that back in the sixties even army officers, I did a lot of gigging on US army bases in Europe, were well informed jazz fans, and today the sad truth is that the folks one would expect to at least be somewhat aware of this great american art form are totally ignorant thereof.

    Authenticjazzman, "Mensa" society member of forty-plus years and pro jazz artist.

    Of course as JSB was the the epitome of a musical genius, however I am deeply perplexed at the fact that todays “Intellectuals” on the conservative side, simply have no interest or affinity for the “Classical” music of now, namely Jazz.

    Jazz, like Classical music, can be a pretty intimidating subject for the musical neophyte. There’s an entire history and culture and patois that one has to learn before he can even speak about the matter without embarrassing himself. Compounding this is the very “intellectualization” of the music itself, i.e. the inchoate sense that those who know this stuff really know it. Jazz people project an affectation that they understand chord voicings and scales and chomaticism to the same intimate degree that a professional mathematician understands the Riemann zeta function, and that their superior understanding elevates them to a plane of cool, aloof aesthetic transcendence. That’s all part of the mystique of jazz, is it not? Among the great masters it may even be the truth, but for every “authentic jazz man” there are 99 pedants trying to scam the action. That kind of atmosphere can be rather off-putting to those who may not have the musical chops but who do possess a measure of dignity and decorum. Better to just avoid the whole scene than to rub elbows with a herd of annoying wannabes and be taken for one of them.

    And then, of course, if you go by Ken Burns, jazz is just another chapter in the great struggle for negro equality. Should an aspiring jazz aficionado attempt to acquaint himself with the subject by picking up one of these popular documentaries, he will meet only with the same tired tropes of the SJW brigade, and who wants to set himself up for that kind of disappointment?

    Since jazz is intrinsically a type of art music, it follows that its finer nuances cannot be appreciated by just anybody. Ideally one would have to have had a musical education starting in childhood, and a gradual, mediated exposure to the culture of which jazz forms a part. Then one would be able to reflect with gratitude on the gift he had been given—a deep and intricately molded soul that can respond to the world with the creativity and grace of a jazz improvisation. But the slow maturation of an informed aesthetic is not a process that can be rushed or skipped. If we find that there are few genuine connoisseurs these days, it is because the tree of culture is old and barren, hardly producing any longer her fabled fruits, and that is because the ground she grows in has gone sterile. I take it as my duty to re-manure the soil. If I cannot be a cultured man myself, I will fight for those simple things out of which alone culture grows—home and hearth, king and country, and religion. What was that famous quote of John Adams’, “I must study politics and war so that my sons can study mathematics and philosophy”? Such are the times we live in and the calling of my generation.

    Read More
    • Replies: @Authenticjazzman
    Thanks for your input, however I am really not in dire need of any schooling on the nature of jazz or jazz musicians, as myself having been active in this field since the early sixties, and also having been born and raised in the former world-class metropolis of Detroit Michigan which was during my youth a hot-bed of jazz activity, myself being quite familiar with all aspects of this marvelous "Art-music", my last gig by the way having been yesterday.
    In any event regarding your comments on the "Affectation" of jazz player in regards to "chord-voicings, scales and chromaticism : Chord-voicings and Scales may be an area which can be "Understood", "chromaticism" however being a completely arbitrary improvisational/compositional device for which no rhyme or reason in the employment thereof may be descerned, and today being coincidentally the 225 anniversary of the passing of Amadeus Mozart a true master of the application of chromaticism, one can reasonably state that there is not or ever will be a possibility of an "understanding" cromaticism.
    The whys and wherefores of the application of cromaticism will then remain an eternal connumdrum and mystery.
    No musicologist, jazzplayer etc will ever determine just "why" Bird ( Charlie Parker), or JSB ( Bach) inserted a chromatic line in such and such measure.

    Authenticjazzman, "mensa" Society member of forty-plus years and pro jazz artist.
  11. @Intelligent Dasein

    Of course as JSB was the the epitome of a musical genius, however I am deeply perplexed at the fact that todays “Intellectuals” on the conservative side, simply have no interest or affinity for the “Classical” music of now, namely Jazz.
     
    Jazz, like Classical music, can be a pretty intimidating subject for the musical neophyte. There's an entire history and culture and patois that one has to learn before he can even speak about the matter without embarrassing himself. Compounding this is the very "intellectualization" of the music itself, i.e. the inchoate sense that those who know this stuff really know it. Jazz people project an affectation that they understand chord voicings and scales and chomaticism to the same intimate degree that a professional mathematician understands the Riemann zeta function, and that their superior understanding elevates them to a plane of cool, aloof aesthetic transcendence. That's all part of the mystique of jazz, is it not? Among the great masters it may even be the truth, but for every "authentic jazz man" there are 99 pedants trying to scam the action. That kind of atmosphere can be rather off-putting to those who may not have the musical chops but who do possess a measure of dignity and decorum. Better to just avoid the whole scene than to rub elbows with a herd of annoying wannabes and be taken for one of them.

    And then, of course, if you go by Ken Burns, jazz is just another chapter in the great struggle for negro equality. Should an aspiring jazz aficionado attempt to acquaint himself with the subject by picking up one of these popular documentaries, he will meet only with the same tired tropes of the SJW brigade, and who wants to set himself up for that kind of disappointment?

    Since jazz is intrinsically a type of art music, it follows that its finer nuances cannot be appreciated by just anybody. Ideally one would have to have had a musical education starting in childhood, and a gradual, mediated exposure to the culture of which jazz forms a part. Then one would be able to reflect with gratitude on the gift he had been given---a deep and intricately molded soul that can respond to the world with the creativity and grace of a jazz improvisation. But the slow maturation of an informed aesthetic is not a process that can be rushed or skipped. If we find that there are few genuine connoisseurs these days, it is because the tree of culture is old and barren, hardly producing any longer her fabled fruits, and that is because the ground she grows in has gone sterile. I take it as my duty to re-manure the soil. If I cannot be a cultured man myself, I will fight for those simple things out of which alone culture grows---home and hearth, king and country, and religion. What was that famous quote of John Adams', "I must study politics and war so that my sons can study mathematics and philosophy"? Such are the times we live in and the calling of my generation.

    Thanks for your input, however I am really not in dire need of any schooling on the nature of jazz or jazz musicians, as myself having been active in this field since the early sixties, and also having been born and raised in the former world-class metropolis of Detroit Michigan which was during my youth a hot-bed of jazz activity, myself being quite familiar with all aspects of this marvelous “Art-music”, my last gig by the way having been yesterday.
    In any event regarding your comments on the “Affectation” of jazz player in regards to “chord-voicings, scales and chromaticism : Chord-voicings and Scales may be an area which can be “Understood”, “chromaticism” however being a completely arbitrary improvisational/compositional device for which no rhyme or reason in the employment thereof may be descerned, and today being coincidentally the 225 anniversary of the passing of Amadeus Mozart a true master of the application of chromaticism, one can reasonably state that there is not or ever will be a possibility of an “understanding” cromaticism.
    The whys and wherefores of the application of cromaticism will then remain an eternal connumdrum and mystery.
    No musicologist, jazzplayer etc will ever determine just “why” Bird ( Charlie Parker), or JSB ( Bach) inserted a chromatic line in such and such measure.

    Authenticjazzman, “mensa” Society member of forty-plus years and pro jazz artist.

    Read More
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