[←279]
In the Goldfinger book, Bond is not captured so much as shanghaied, along with Tilly Masterton, as Goldfinger’s “secretary,” which emphasizes their equivalence as protégés of the master. Male secretaries were still common in Britain, a point leading to some comic interaction on Mad Men between the ladies of Sterling Cooper and Lane Pryce’s male secretary when London agency PPL takes over. In Dr. No, the book makes much of Honeychile’s muscles and “boyish behind,” leading Cyril Connelly to ask “What on Earth was he thinking?” The Spy Who Loved Me is the only book narrated by the Bond Girl, with results universally regarded as dire (she even gets his title wrong; as noted above, he’s a secret agent, not a “spy”).
[←280]
Felix Leiter hardly counts; although he might be thought of as an attempt to give Bond an American partner for the bigger US market, he is, in accord with his CIA background, a cipher; his numerous beatings and dismemberments suggest not so much a stand-in for Bond as a sadistic figure of fun, a Judy to the villain’s Punch; the movies have fun with him being played by a different actor each time, in line with his nonentity.
[←281]
Jef Costello, “The Importance of James Bond,” op. cit.
[←282]
http://www.counter-currents.com/2011/05/the-courage-of-jodie-foster/
[←283]
Stefan Kanfer, Tough Without a Gun: The Life and Extraordinary Afterlife of Humphrey Bogart (New York: Knopf, 2011).
[←284]
http://tomshone.blogspot.com/2011/02/his-toughness-was-inside-job.html
[←285]
http://www.counter-currents.com/2010/08/right-wing-anarchism/
[←286]
Paul Kengor, Dupes: How America’s Adversaries Have Manipulated Progressives for a Century (Wilmington, Del.: ISI Books, 2010). See Kevin Mooney, “Was Staunch Anti-Communist Humphrey Bogart Once a Young Communist Dupe?,” http://netrightdaily.com/2010/10/was-staunch-anti-communist-humphrey-bogart-once-a-young-commie-dupe/
[←287]
Claud Cockburn, Beat the Devil (Oakland, Cal.: AK Press, 2012).
[←288]
http://www.advocate.com/news/daily-news/2011/02/ 07/bacall-capote-didnt-have-sex-bogie
[←289]
http://www.counter-currents.com/2010/09/the-dark-knight/
[←290]
Julius Evola, Men Among the Ruins: Post-War Reflections of a Radical Traditionalist, ed. Michael Moynihan, trans. Guido Stucco (Rochester, Vt.: Inner Traditions, 2002), p. 261.
[←291]
Jonathan Lethem, They Live (Berkeley: Soft Skull Press, 2010).
[←292]
Christopher Sorrentino, Death Wish (Berkeley: Soft Skull Press, 2010).
[←293]
Andrea O. Letania, “How About Some Good Old Love Songs From Alleged ‘Right Wing’ Groups?” http://www. wvwnews.net/story.php?id=9536
[←294]
http://ostrovletania.blogspot.com/
[←295]
See Christopher Pankhurst’s “Music of the Future,” where David Tibet is compared to Schubert, http:// www.counter-currents.com/2011/11/music-of-the-future/
[←296]
Mark Sedgwick, “Apoliteic Music,” http:// traditionalistblog.blogspot.com/search?q=neo-folk
[←297]
Joshua Buckley, “Euro-Paganism: One or Many?,” http://traditionalistblog.blogspot.com/2008/01/euro-paganism-one-or-many.html
[←298]
The entheogenic researcher, not the holocaust revisionist, although the coincidence is . . . intriguing.
[←299]
Michael Hoffman, “Mystic Allusions in Heavy Rock Lyrics,” http://www.egodeath.com/MysticAllusions.htm
[←300]
Kevin MacDonald, “Psychology and White Ethnocentrism,” http://www.kevinmacdonald.net/WhiteEthnocentrism. pdf
[←301]
www.csmonitor.com/1990/0212/lage.html
[←302]
http://www.amazon.com/Sanctuary-20-Years-Windham-Hill/dp/B000000NLB/ref=sr_1_1?ie=UTF8&s=music&qid=1274561736&sr=8-1
[←303]
For a pro-White discussion of those elements, in the vocal context, see Julian Lee’s “The White Voice in Rock & Pop,” http://www.counter-currents.com/2011/11/the-white-singing-voice-in-rock-and-pop/
[←304]
http://www.amazon.com/Beauty-Rare-Thing-Complete-Recordings/dp/B00000332J/ref=sr_1_1?ie=UTF8&s=music& qid=1274568308&sr=1-1
[←305]
James J. O’Meara, “Happy Fourth of July! Venerable Jazz Scholar Admits: Negro Musicians Had No Sense of Swing, Had To Be Taught By Louis Armstrong,” http://jamesjomeara .blogspot.com/2009/07/happy-fourth-of-july-venerable-jazz.html
[←306]
An echo of Spengler, who said in 1932—when you could say this in a book published by Knopf and favorably reviewed in Time—“Jazz music and Negro dancing perform the Dead March for a great Culture.”
[←307]
http://www.burzum.com/burzum/library/interviews/varg/
[←308]
The definite biography is still Jeremy Reed’s stalker classic, Scott Walker: Another Tear Falls (London: Creation Books, 1998). Although outdated by Scott’s recent “rediscovery” by the hipsters, and by no means even aware of the Aryan motifs outlined here, it nicely conveys Scott’s ability to captivate and obsess his fans, even a man some have called England’s greatest living poet; which is probably why the fans hate it.
[←309]
See Julius Evola. Men Among the Ruins: Post-War Reflections of a Radical Traditionalist, ed. Michael Moynihan, trans. Guido Stucco (Rochester, Vt.: Inner Traditions, 2002), ch. 14.
[←310]
A 2006 film by Stephen Kijak, featuring interviews with such illustrious fans as David Bowie (who might be called Scott Lite, having chosen a series of rabidly shifting stage personae rather than seclusion), Brian Eno who helps connect us with our New Age/Ambient theme), Marc Almond, Ute Lemper, and Jarvis Cocker.
[←311]
http://takimag.com/article/white_noise#axzz1f3LxqV77
[←312]
Julius Evola, Ride the Tiger: A Survival Manual for Aristocrats of the Soul, trans. Joscelyn Godwin and Constance Fontana (Rochester, Vt.: Inner Traditions, 2003).
[←313]
Alain Daniélou, Music and the Power of Sound: The Influence of Tuning and Interval on Consciousness (Rochester, Vt.: Inner Traditions, 1995; first published 1943).
[←314]
See the discussion of “bent” and “blue” notes in Julian Lee’s essay, although he fails to see their significance as Daniélou does: “The success of African American music, with its ‘blue’ notes so alien to equal temperament and therefore so expressive, is not due merely to fashion. It shows the need for an understandable musical system, for logical and true intervals that can remove the veil of inexpressive insipidity which temperament spreads over even the most impassioned movements of the greatest symphonies” (Music and the Power of Sound, p. 16).
[←315]
Elizabeth Whitcombe, “The Mysterious German Professor,” http://www.theoccidentalobserver.net/authors/Whitcombe-AdornoII.html; and Elizabeth Whitcombe, “Adorno as Critic: Celebrating the Socially Destructive Force of Music,” http://www.theoccidentalobserver.net/2009/08/adorno-as-critic/
[←316]
http://www.egodeath.com/EntheogenTheoryOfReligion.htm
[←317]
http://www.counter-currents.com/author/jjomeara/
Table of Contents
Front Matter
Cover
Title
Copyright
Contents
Dedication
Forward
Epigraph
Chapter 1
Chapter 2
Chapter 3
Chapter 4
Chapter 5
Chapter 6
Chapter 7
Chapter 8
Chapter 9
hapter 10
Chapter 11
Chapter 1
2
Chapter 13
Chapter 14
Chapter 15
Chapter 16
Chapter 17
Chapter 18
About the Author
The Homo and the Negro Page 25