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Dugin II



Alexander Dugin’s daughter died on the way back from a festival called “Tradition”, and I observed that, in all likelihood, this festival featured “Serbian turbo-folk”—or something quite like it, anyway. As it turns out, I have been vindicated; the video extract above is for the song that was played just before Daria left on her fateful car journey. The song has nothing to do with “Tradition” as men like Guénon and Evola conceived it—a thought style Dugin supposedly works within. The video reveals much, and what it reveals is not pleasant—certainly as regards men like Dugin, men who claim to stand against the Anglo-American sea-based imperium.


Whatever the lyrics and visual cues (Russian tricolour and references to the Mother of God), the above video is pure Americana. Remember, music is about rhythm just as movies are about images—the dialogue in a movie and the lyrics in a song are secondary to the music and images in those respective mediums. The idiom in which this Russian “folk singer” works is purely American—it is the idiom of songstresses such as the electro-operatic Evanescence and the lyrical style of gangsta rap. In particular, the video copies a typical “crossover” form that I especially detest whereby a European-style song—clean and pure, even for pop music—is intercut with an “ethnic”, usually black, vocal riff (commonly billed as e.g. Katy Perry ft. Snoop Dogg).


The gangsta in this case—a monumentally greasy and ugly man—looks like he makes his money from an illegal potato vodka still not the quintessential street-corner drug ring preferred by America’s ghetto blacks; and yet he is recognisably gangsta, though perhaps he should be in Adidas (as befits an Eastern Bloc gangsta—if he wants respecc). I could well imagine that he sent his younger neighbours in his Soviet-era tower block blind with his bathtub concoctions. “Is good, you try…You try.” Blind drunk.


The music video shows that Dugin has already lost—music expresses your soul and Russia’s “traditional” soul is…gangsta rap. The Russian soul, per “Tradition”, is American. Game over. I know what they thought when they did this though: the video smacks of Christian rock—of “homeboys for Jesus”. “The kids will love it—we’re going to make Christ ‘cool’, Doug.” So the idea is that the Russian yoof will be won over to Christian-patriotism through the aesthetics of American pop-rap—ultimately a subtle betrayal (actually, a total betrayal—a soul replacement).


Right-wing ideas will never be popular: spirituality, nation, and blood are not cool—they are serious. Hence Christian rock, the Alpha Course, and Straight Edge Mormon “youth gangs” (“We don’t do caffeine. You don’t know what living on the edge is until you go to work without having had a Starbucks grande cappuccino.”) never work because you cannot simulate the easy popularity found in pop music with existential issues. “We put on Russian flag / Talk bout God / No—I’m not a fag / Here to talk bout Orth-o-dox-y / Come talk to my nigga, the Big JC.”


It never works, it is always behind the times—the video is about fifteen years behind real pop culture. Where it’s at today is Childish Gambino with a horde of naked blacks slitting a white corporate executive’s face off, gang-raping a stuck up “Karen”, and then kneeling in triangle formation, fists in the air, while a Black Lives Matter flag unfurls behind them—the “Tradition” festival simply cannot compete.


There is a misapprehension about Dugin: to read the Western media you would think he is some man-in-the-mountain mystic who routinely wears a cowl and has the most extravagant right-wing views you could imagine (this is mainly due to his Rasputin-style beard). However, Dugin’s public positions are basically the same as a staunch Western conservative, not far off Douglas Murray: he says that “liberals are the real racists”, literally—he puts a slight nationalistic twist on it in that he claims “liberal racism”, as encapsulated by multiculturalism and LGBT issues, is a white Anglo-Saxon invention that is particularly “racist” against Slavs (it made me laugh to write this nonsense). Dugin is hated by the West, despite his anodyne views, because he sticks up for Orthodoxy—and serious Christianity is banned in the West, so Dugin makes the Western media particularly irate.


You can tell how far left Dugin is from the remarks he made at his daughter’s funeral: “I wanted to raise my daughter in the way I see the ideal of man. First of all, it is faith—-she spent her entire childhood in Orthodox camps. I wanted her to be a smart Orthodox person too. So her mother and I advised her to become a philosopher. And she became one.” For a start, “I wanted to raise my daughter in the way I see the ideal of man”; now, admittedly, the translation is ropey here—Dugin might just mean “man” as in generic human, in its old sense—however, from his other remarks, I suspect he really means “as a male human”. Notice that “her mother and I” (the woman comes first for Dugin) advised her to become a philosopher.


The remark contradicts his previous comment about Orthodoxy—while the ancient philosophy was religious, modern philosophy, as evident from its contrast here to Orthodoxy, is the opposite to religion. The modern philosopher proceeds without reference to religious faith. Revealingly, Dugin describes this route as “smart”, presumably as opposed to “stupid” Orthodoxy—and this reveals, as I have mentioned elsewhere, that Dugin is not a sincere follower but merely uses religious ideas and Traditionalism for political ends. Finally, there has never been a female philosopher—never. Women cannot do philosophy—and, indeed, why would a girl raised in “Orthodox camps” aspire to be one anyway? Shouldn’t a good Orthodox daughter have been married with children by her late twenties and not been gadding about as a “philosopher” (in fact, she was a sort of high-brow journalist so far as I can tell—a real career girl)?


Her last words were (though I suspect these might have been invented for the funeral oration), “Dad, I feel like a warrior, I feel like a hero, I want to be like that, I don’t want any other fate.” Well, to be “a warrior, a hero”—how “traditional” is that for a girl? To be a man. I suppose if you play a man’s game as a girl you might get…hurt. Better to stay at home with the children, though perhaps that is too “stupid” and “unphilosophical”. Never mind the transgender agenda, with feminism it is already achieved—any young girl can be a warrior, a hero. You see my point: even moderate conservatism, represented by Dugin, can be considered, in today’s environment, wild right-wing extremism—the man is a feminist; and, probably, given his remarks about “smart” philosophy, an atheist who hopes to use religion to suit his agenda.


The anecdote ends: “He remembered that at the moment when they were leaving the festival, a minute before her death, Akim Apachev's song ‘At Azovstal’ was playing; demons are buried. Daria wanted to listen to her, but they left earlier.” Yes, the song mentions “demons”—metaphorically. The men who died at Azovstal were not “demons”, though demons are real, they were men—and intellectuals like Dugin think demons are not real, except for metaphorical purposes.


Ironically, the Apachev song itself engages in demonisation: the greasy rapper sings with relish about the orphaned children of the Azovstal defenders—yes, I know, in war everything is “I shit on your flag, I slit your throat, I fuck your mother the whore”, and doubly so for Slavs, yet there is something deeply ignoble about rapping, like some ghetto negro, about the children orphaned by the Russian army. Where is your honour? Where is your nobility? And, in a typical Jungian twist, albeit metaphorical, who is the demon? Personally, I’m sticking with Parsifal—a little “racist” for academician Dugin, though certainly traditional.










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