Counter-Currents
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed
  • Advertise

LEVEL2

  • Webzine
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • About
  • Contact
  • RSS
    • Main feed
    • Comments feed
    • Podcast feed
  • Advertise
  • Private Events
  • T&C
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Print May 22, 2020 22 comments

Now in Audio Version!
Scarface

Gregory Hood

2,202 words

To listen in a player, click here. To download the mp3, right-click here and choose “save link as” or “save target as.”

White Nationalists spend a lot of time analyzing the themes in movies and the impact they have on our people. However, we often ignore what lessons non-whites take. Consider the one movie that has had a greater impact on hip-hop culture (which is to say, the dominant culture of this country’s youth and underclass) than any other — Brian De Palma’s 1983 Scarface. As chronicled by books, articles, or even a simple glance at the themes in contemporary rap, no movie has a greater hold on the imagination of black and Latino youth.

The film stars Al Pacino ferociously chewing the scenery as Tony Montana. Montana is a Cuban immigrant who rises to become a prominent cocaine dealer in Miami before dramatically losing his friends, family, power, and life.

The film is noted for its extreme vulgarity, especially for the use of one particular example of Anglo-Saxon 226 times, or about 1.32 times per minute. For those who have overall questions about the plot, you can actually figure out the entire movie from just viewing every use of that one word.

The movie itself is simply a more explicit version of one of the uniquely American film genres, the gangster film. An immigrant of lowly origins rises to the top of society through unethical methods. However, in his desire to become a powerful and wealthy man, and thus a true “American,” he loses the very things (culture, family, traditions, identity), that made him who he is. Eventually, the now deracinated protagonist is destroyed, losing even the ethereal wealth and power that he once possessed.

In The Godfather Trilogy, for example, Michael Corleone, despite taking the family to new heights, dies alone and isolated, his daughter a victim of the violence he used to build his fortune, his son alienated and disgusted, his father Vito’s hopes that the Corleone family will “make it” as a prominent American family in ruins.

In Goodfellas, Henry Hill ends up betraying all of his former friends and colleagues, and is disgusted to have to live as an average, anonymous American working on the consumer plantation, without even the comfort of his old neighborhood friends.

The Sopranos television series begins with Tony Soprano bemoaning the collapse of community standards and his acknowledgment that he is fighting a losing battle to keep La Cosa Nostra going.

Scarface is a story in this vein, about an ambitious outsider caught between his old identity and the need to secure the wealth and power that modern America values far above family, patriotism, or identity. Even the hero’s name is a signal that Tony represents not Cubans per se but the universal experience of every “new American.” Montana is even an anti-Communist, butchering a former Castro confidante with a knife to earn his green card and entry into American life. In the end, though, Scarface is a cautionary tale. Tony’s mother, a humble house cleaner, sets up the conflict by saying, “You think you can come in here with your hot shot clothes and make fun of us. That is NOT the way I am, Antonio! That is NOT the way I raised Gina to be. You are not going to destroy her. I don’t need your money. Gracias! I work for my living.”

Ultimately of course, Montana does destroy his sister, and everyone else around him. He murders his best friend in a jealous rage and sees his sister killed. His trophy wife abandons him, disgusted after a flabby and drunken Tony embarrasses himself at a restaurant. He is murdered, and perhaps even worse, defeated with no friends left to avenge him. Behind the cursing and bluster, Scarface suggests that American success comes at too high a cost. At the end of the movie, Tony lies floating in his own blood, his mansion occupied by his enemies, the line “the world is yours” serving only as an ironic counterpoint. Montana’s collapse and ruin are far more complete than anything suffered even by Michael Corleone or Henry Hill.

This depressing lesson seems to have completely gone over the heads of the largely non-white fans of Scarface. When a new DVD version was released of the movie, crowds of Latinos camped outside the Best Buy in Secaucus, New Jersey like it was Black Friday. Scores of gangster rappers claim Tony Montana as a role model and an inspiration. Aaron McGruder, certainly the most perceptive critic of black culture from within the black community (and perhaps in the whole country), makes sure to characterize his pop culture-worshiping young black everyman character Riley Freeman as an outright Tony Montana wannabe. At any major city in America, T-shirt vendors can be found hawking cheap knockoffs of Al Pacino’s iconic pose, alongside images of Tupac Shakur, Biggie Smalls, and of course, Barack Obama.

The nonwhite worship of Tony Montana tells us a great deal about the values that blacks and Latinos internalize from American popular culture and what they believe America is all about. Collectively, nonwhites seem to simply block out not just Tony Montana’s defeat, but even the corruption of his career. For many, the ending needs to be changed outright. In the Scarface video game enthusiastically advertised to “urban” markets, Tony Montana’s iconic last stand is reimagined as him blasting his way out of trouble so he can rebuild his empire.

Al Pachino as Tony Montana

Why the attraction to blacks and Hispanics? Tony Montana represents not just the quintessentially American desire for money and power, but the uniquely non-European American desire to have these things without having to identify with the American nation or its institutions. Montana neatly summarizes his view of his new hometown of Miami and his adopted country with the quote, “This is paradise, I’m tellin’ ya. This town like a great big pussy just waiting to get fucked.”

Watching a news report on cocaine in Miami, Tony neatly transitions into a rant against the “bankers and politicians” who are the real bad guys. While Tony hates Communists, he also casually defines capitalism as “fuck you.” Tony accepts this, even revels in it. America is a Hobbesian jungle of all against all, with money and power as the only absolutes.

However, there is a moral code behind Tony’s bluster. In contrast to the “WASP whores” with their money and connections, Montana’s criminality is more honest and forthright. By relying on his “balls and his word,” Tony simultaneously shames all of the law-abiding, bourgeois Americans who obey a corrupt system and also the rich businessmen and politicians who are just as bad, if not worse, than drug dealers.

In the famous “bad guy” speech, Tony Montana echoes a favorite Culture of Critique theme. Tony says drunkenly to a group of shocked whites at a fancy restaurant, “You all a bunch of fuckin’ assholes. You know why? You don’t have the guts to be what you wanna be. You need people like me. You need people like me so you can point your fuckin’ fingers and say, ‘That the bad guy.’ So. . . what that make you? Good? You’re not good. You just know how to hide — how to lie. Me, I don’t have that problem. Me, I always tell the truth. Even when I lie. So say goodnight to the bad guy!”

After all, if everyone is equally corrupt, no one can be good. In line with Tony’s own moral code though, the speech takes on a different meaning. All the old “mummies” with their illegitimate wealth and power are the real bad guys. They are soft, corrupt puppeteers who hide behind courts and fancy suits but don’t have the cojones to put their own bodies on the line. Tony, who earned his money with manliness and physical courage, is the real moral exemplar.

This is the moral code that elevates the drug dealer over the legitimate businessman, or the street enforcer over the snitch. This is the code celebrated in the narcocorrdios of Mexico, or the rap anthems blaring in Los Angeles or Baltimore, or the stop snitching shirts and signs displayed with pride all over the ghettos.

In fact, Tony Montana might even be a civil rights hero. Crime, murder, and crude displays of violence to show who can be the “big man,” if only for a few moments, are all ways of sticking it to the white power system. Ken Tucker, author of Scarface Nation, notes that white critics didn’t understand the movie in 1983. “But very quickly, Latino and black audiences seized on the story of Tony Montana. . . as an example of how a poor, disenfranchised ethnic person in America could improve his life in the Reagan era. That story has remained powerful.” Criminal action is not wrong, but simply a more honest and direct way of expressing one’s individuality and rage at “oppression.”

Of course, the more direct the approach the better. Contemporary hip hop culture values the direct use of force and display of masculinity rather than the more subtle strategy favored by a Don Corleone. Tony Montana does not fail to disappoint on this front as well. The most relevant example is the case of Montana’s Jewish mentor Frank Lopez, an aging drug lord with a chai necklace and a blonde shiksa mistress. Frank doesn’t want to rock the boat, and when Tony gets out of hand, Frank arranges to have him killed. But Montana, who kills him first and secures both his business and his girl, is more moral because he uses straightforward force as opposed to Semitic intrigue.

You can buy Greg Hood’s Waking Up From the American Dream here.

While the Jewish identity of Lopez probably goes over most urban audiences’ heads, the frustration at the “white” (mostly Jewish) shop owners who run small businesses in the ghettos and barrios to “exploit the community” is very real. We can imagine many blacks and Hispanics fantasize not about having to build up such a business but about being able to simply claim it, or at least try to destroy it as they did during the LA Riots.

The irony, of course, is that Tony is not ruthless enough to maintain his power. He refrains from killing women and children even though he was ordered to by Sosa, his Bolivian cocaine supplier, killing Sosa’s henchman instead. If he had done this, his downfall would have been avoided. This speaks well of Montana, indicating at least some semblance of decency. But perhaps it is more a reflection of his own machismo. After all, he had no problem working with Sosa and profiting greatly from the relationship, despite Sosa’s tactics. He also glories in his murder of Sosa’s henchman. He presents his refusal to do Sosa’s will less as a moral stand than as a display of dominance over other men.

After he shoots Sosa’s henchman, he crows, “I told you, man, I told you! Don’t fuck with me! I told you, no fucking kids! No, but you wouldn’t listen, why, you stupid fuck, look at you now.” The code of aggressive machismo, displays of dominance, and the quick resort to violence are of course all staples of contemporary urban culture. Tony Montana’s bloody last stand, after all, was not a defense of loved ones, a noble idea, or even himself, but simple rage at the people who were “fucking with him” and who didn’t realize they were “fucking with the best.”

Scarface, despite the hilarious 80s montages, comic book dialogue, and over the top accents, is actually a chilling representation of what America has become and what people value today. Perhaps the most significant dialogue is not the famous “Say hello to my little friend” or the quotable “The only thing in this world that gives orders. . . is balls” but an exchange between Tony and Elvira, his white, blonde, junkie wife that he claimed from Lopez, the mentor he killed. Elvira states, “You know what you’re becoming, Tony? You’re an immigrant spic millionaire, who can’t stop talking about money,” whereupon Tony interrupts, “Who the fuck you calling a spic, man? You white piece of bread. Get outta the way of the television.”

The display of barely concealed racial hostility, papered over with money, drugs, alcohol, and television to fill the empty hole that used to be a country, perfectly sums up what America has become. Scarface is actually a profound criticism of the American Dream, suggesting that hard work and traditional values lead to greater happiness than the pursuit of quick money through criminality.

Blacks and Hispanics, however, seem to have missed the point, seeing the antihero as an honest hero, and aspiring to be the next Tony Montana.

If you want to support our work, please send us a donation by going to our Entropy page and selecting “send paid chat.” Entropy allows you to donate any amount from $3 and up. All comments will be read and discussed in the next Counter-Currents Livestream, which airs every Sunday at 12:00 PST / 3:00 EST / 21:00 CET on the official Counter-Currents DLive channel.

Notes

This review was originally published on February 27, 2011. If you liked this article, click here and here for more like it.

 

Related

  • The West Has Moved to Central Europe

  • Counter-Currents Radio Podcast No. 458
    Gregory Hood & Greg Johnson on Burnham & Machiavellianism

  • Podcast with Robert Wallace & Gregory Hood
    Time for White Identity Politics

  • Counter-Currents Radio Podcast No. 449
    Greg Johnson & Gregory Hood on The Northman

  • The Union Jackal, May 2022

  • “Should War Be Criminalized?”

  • Jonathan Bowden on the Ravages of Mass Immigration

  • Letter from a Czech Sociologist to the Americans

Tags

crimeGregory Hoodimmigration

Previous

« Counter-Currents Radio Podcast No. 275
F. Roger Devlin on the White Death:
Case & Deaton’s Deaths of Despair

Next

» This Weekend’s Livestreams

22 comments

  1. Used to Watch TV says:
    May 22, 2020 at 10:56 am

    I can understand why blacks like this. What I can never understand is why they like The Honeymooners.

  2. Ambrose Kane says:
    May 22, 2020 at 3:30 pm

    “Blacks and Hispanics, however, seem to have missed the point, seeing the antihero as an honest hero, and aspiring to be the next Tony Montana” – Of course they missed the point. What else would one expect from low-IQ and even lower-cultured peoples who can’t seem to avoid a prison sentence?

    Remember that in the case of blacks, they actually have to create public campaigns to urge their young men to pull up their pants (saggin’)! This is the level of stupidity and moral caliber of people that we as whites have invited into our societies!?

    In the case of Hispanics, the Puerto Ricans that have flooded New York are virtually indistinguishable from thuggish blacks, and the Mexicans who have invaded the South West have brought with them their entrenched ‘cholo’ and gang culture. Is it any surprise, then, why Tony Montana, is an icon in their so-called ‘communities’?

    As a side note, a number of years ago when I was a cop in California, I got dispatched to a house regarding a Hispanic father who was concerned about his son’s involvement in gangs. He couldn’t figure out what the problem was, and why his son wanted to associate with gangsters. I asked to see his son’s bedroom. When I walked inside, I noticed a huge poster featuring the murdered thug-rapper, Tupac Shakur, hanging from a wall. I told him there was his problem. He allowed his son to visually glorify a criminal thug whose values were completely opposite of his own. I asked him who had more moral authority in his home – himself or Tupac? He knew the answer.

    Time after time in my decades as a cop (now retired), I witnessed almost daily the stark differences between whites and non-whites. The level of racial naiveté and outright stupidity that whites have shown to invite these blacks and browns into their once grand cities staggers the mind.

    1. Roscommonguy says:
      May 22, 2020 at 6:21 pm

      A period of compulsory service as a policeman in non-white areas would do whites a world of good. More than any other occupation, being a cop seems to bring home the stark inescapable reality of life to people.

    2. Some other guy says:
      May 23, 2020 at 8:24 am

      ” The level of racial naiveté and outright stupidity that whites have shown to invite these blacks and browns into their once grand cities staggers the mind.”

      Absolutely correct.

  3. Alex says:
    May 22, 2020 at 5:18 pm

    226 times seems a little bit on the low side. “ fuck Casper Gomez and fuck the fucking Diaz brothers, fuck ‘em all”. That’s 4 times in 5 seconds

  4. Lord Shang says:
    May 22, 2020 at 5:30 pm

    Good review. I saw Scarface when it first came out in the theaters in 1983. I was, well, blown away. I loved it. But I loved it for finally introducing real mayhem into the movies (maybe First Blood the year before had started the trend; The Terminator made it permanent). Also, because I have always thought Michelle Pfeiffer was one of the all time most beautiful actresses (even if she is yet another in the ridiculously long line of white esp blonde race traitor women adopting their little mud children). I used to hate the pussy ‘action’ movies I’d see in the 70s (though now I like some of them better than I did at the time of their original release, probably because with age I appreciate character more, and mayhem less).

    I (possibly naively) at the time took the movie to be … pro-White American. I was very based already, and I’d been furious about the disgusting 1980 Mariel boatlift of Castro’s criminals and lunatics that liberal ass Carter imposed on us (and which ruined South Florida). I had been talking about that very subject for years by the time of Scarface’s release. So I actually saw it as a very rightist movie, a “wakeup” call about the savages we were letting into our beautiful white country. How could any white man see that movie and not think “why are we letting this filth into OUR nation?”

    Alas, the sentimental folly of the superior/inferior white man knows no limits. Our only answer is white nationalist-exclusive secession and new sovereignty (the Ethnostate MUST be restricted to militant rightists, not all whites, or else it will succumb to ultimate liberalism like everywhere else).

    1. Alex says:
      May 23, 2020 at 4:10 am

      Have you seen the Cocaine Cowboys documentary? Holy shit, I’ve never seen anything like it, the documentary is a true depiction of the havoc created by the boatlifts.

      1. Lord Shang says:
        May 23, 2020 at 4:55 pm

        No, thanks, I’ll check it out sometime.

  5. Fionn McCool says:
    May 22, 2020 at 5:30 pm

    The film is noted for its extreme vulgarity, especially for the use of one particular example of Anglo-Saxon 226 times, or about 1.32 times per minute.

    Is “fuck” an Anglo-Saxon word? I don’t think it is…

    1. Scott Weisswald says:
      May 22, 2020 at 5:52 pm

      Derived from fick. Definitely Anglo-Saxon.

  6. Marieinbethpage says:
    May 23, 2020 at 3:01 am

    Another lesson non-whites take away from this twisted American dream story is the obtaining of a white wife and/or white women in general.

  7. Hiphop Nguyen says:
    May 23, 2020 at 3:05 am

    “Consider the one movie that has had a greater impact on hip-hop culture (which is to say, the dominant culture of this country’s youth and underclass) than any other…”

    Sorry bro , it’s the dominant youth and emerging underclass of THE WORLD .

  8. Oil Can Harry says:
    May 23, 2020 at 3:11 am

    The original director was Sidney Lumet and he would’ve ruined the film.

    Although (((Lumet))) was a skilled and intelligent filmmaker, he had the wrong approach: he wanted a script where the Hispanic gangsters would be the heroes and the villains would be corrupt white cops and the Reagan administration.

  9. Joe Gould says:
    May 23, 2020 at 4:13 am

    It’s not hard to understand why Tony Montana is an exciting role model.

    Tony Montana only has a downfall because he refuses to do the immoral act that he agreed to do for Sosa. Without that reluctance, Tony Montana would be invincible.

    If there is nothing in your heart that would recoil against this violent act, then for you the rise of Tony Montana is a genuine and thrilling invitation, but his fall is not real because it would never apply to someone like you.

  10. James J. O'Meara says:
    May 23, 2020 at 10:49 am

    After he shoots Sosa’s henchman, he crows, “I told you, man, I told you! Don’t fuck with me! I told you, no fucking kids! No, but you wouldn’t listen, why, you stupid fuck, look at you now.”

    Tony may not be all that moral after all. Joe Pesci has a similar line in Casino, where he’s about to crush a guy’s head in a vice unless he gives up the name of his partner. “Don’t make me do this! Don’t make me be the bad guy!” Like the bank robber’s “Do as I say and no one gets hurt,” it’s an attempt to transfer the guilt to you, the victim. It’s YOUR fault, you MADE me do this. The same with his restaurant rant about the “real” bad guys. The typical thought process of a sociopath.

    1. Lord Shang says:
      May 23, 2020 at 4:52 pm

      Well, not being willing to kill kids is at least some small moral line. The MS-13 savages, er, helpless refugees our (((masters))) are shoving down our throats wouldn’t think twice about killing anyone.

  11. Irmin says:
    May 23, 2020 at 10:56 am

    The movie itself is simply a more explicit version of one of the uniquely American film genres, the gangster film.

    The film is, curiously, a largely faithful remake of Howard Hughes’ *Scarface* (1932), the story of a Capone-like Italian gangster. Most major plot elements are identical, as are the relationships among the principal characters. The 1983 *Scarface* is, however, a much different film, even though brief plot summaries of the two would be almost the same.

    I don’t like the 1983 version, which is clearly a degenerate movie, but Oliver Stone’s screenplay is weirdly impressive as a faithful yet radically different reworking of an earlier story.

    Montana is even an anti-Communist, butchering a former Castro confidante with a knife to earn his green card and entry into American life.

    Stone has a noticeable hostility to anti-Castro Cubans. They butcher former Castro confidantes; they plot to put a Texan in the White House; they support Nixon.

    1. James J. O'Meara says:
      May 23, 2020 at 6:51 pm

      “Stone has a noticeable hostility to anti-Castro Cubans. They butcher former Castro confidantes; they plot to put a Texan in the White House; they support Nixon.”

      Nice catch. I always liked Guy Bannister’s summary of post-war American politics (delivered by Ed Asner, of all people): “That’s what happens when you let the n*ggers vote. They get together with the Jews and Catholics and put a Irish bleeding heart in the White House.”

  12. Big Dan! says:
    May 23, 2020 at 1:45 pm

    Funny thing is I remember distinctly when it came out it was called a 1-star BOMB by the major movie reviewers: Siskel and Ebert, Leonard Maltin, etc. I presume they were compelled to reject the message. Just so dreary and soul-crushing to watch. But, bomb, huh? How much has it made exactly?
    Brian DePalma was always willing to explore new depths of humanity that were best left unexplored. He’s the same guy who brought us Carrie; maybe the first of the new generation of films where the monster can’t be killed.
    I kind of wish I’d never Scarface it … BUT …I always enjoy it when it re-runs on TV. It’s so frickin watchable.
    AND FINALLY … How do we reconcile all this with the 1932 version with Paul Muni? Still a classic.

  13. Peter Stillman says:
    May 24, 2020 at 5:51 pm

    “However, in his desire to become a powerful and wealthy man, and thus a true “American,” he loses the very things (culture, family, traditions, identity), that made him who he is.”
    Interesting take. I always saw Tony Montana as more a Barry Lyndon-like character – an amoral swindler who powers his way through to the top, but fails to fully cut it in the higher ranks and is ultimately foiled by the one time he actually has a moral conscience.
    “Scarface, despite the hilarious 80s montages, comic book dialogue, and over the top accents, is actually a chilling representation of what America has become and what people value today. ”
    Despite? De Palma is a satirist. Its over-the-top nature reinforces its bleak worldview, with its excessive gaudiness and garish backdrops. De Palma doesn’t make films about reality; he makes films about how reality is transposed by film. Many talk of De Palma’s Hitchcock’s obsession, but overlook the influence of Godard, which is much more apparent in his earlier work, but still present throughout his career. The emptiness and hedonism of Montana’s world is expressed visually and through form. It’s part of what elevates and builds pathos for what is, at face value, the story of some lowlife thug.

    What’s amusing is that, when asked about Scarface’s influence on hip hop, De Palma smiles wryly and is completely dismissive of it.

  14. Tommy says:
    May 28, 2020 at 12:54 am

    One more racial aspect in this film: Alejandro Sosa, the mighty Bolivian drug-lord educated in English private schools, is clearly meant to represent the Caucasian elites who still largely rule Latin America. His final outburst of anger at Tony may well contain racial animus:

    “I told you a long time ago, you fucking little monkey, not to fuck me!”

    Is he basically calling Tony a lowly Mestizo peon, the sort of fellow who used to serve his fair-skinned hidalgo ancestors?

  15. gkruz says:
    May 29, 2020 at 9:19 pm

    “The emptiness and hedonism of Montana’s world is expressed visually and through form. It’s part of what elevates and builds pathos for what is, at face value, the story of some lowlife thug.

    What’s amusing is that, when asked about Scarface’s influence on hip hop, De Palma smiles wryly and is completely dismissive of it.”
    That shit sails straight over the heads of most viewers, and especially non-Whites.
    I would have no trouble banning this movie from distribution in a White ethnostate. Unlike some here, I am in favor of censorship. We’ve seen the results of the free market place of ideas and treating garbage pop culture as if it deserved the same consideration as high art. The damage to society caused by degenerate junk like Scarface is no laughing matter, and no one of any race has the right to base their life on a romanticized celluloid criminal and roam free on the streets to act it out.

Comments are closed.

If you have Paywall access,
simply login first to see your comment auto-approved.

Note on comments privacy & moderation

Your email is never published nor shared.

Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.

  • Recent posts

    • Ian Smith’s Great Betrayal

      Spencer J. Quinn

      10

    • Ask Not What They’re Doing to Trump — Ask What Trump Did For You

      Jim Goad

      32

    • Stop LARPing & Start Preparing

      Aquilonius

      2

    • The German Colonial Empire:
      A Miracle of Progress

      Morris van de Camp

    • The Rise of the “Bubble People”

      Stephen Paul Foster

      9

    • Weimerican Horror Story

      Tom Zaja

      2

    • Hunter S. Thompson:
      The Father of Fake News, Part 7

      James J. O'Meara

      2

    • Counter-Currents Radio Podcast No. 474
      Anthony Bavaria Brings the Best Month Ever on The Writers’ Bloc

      Counter-Currents Radio

    • Remembering Philip Larkin:
      August 9, 1922–December 2, 1985

      Greg Johnson

      8

    • The Selfie Poet

      Margot Metroland

      6

    • Philip Larkin on Jazz:
      Invigorating Disagreeableness

      Frank Allen

      8

    • Quidditch By Any Other Name

      Beau Albrecht

    • صحفي أسترالي وجحر الأرانب الفلسطينية

      Morris van de Camp

    • The Worst Week Yet:
      July 31-August 6, 2022

      Jim Goad

      28

    • Hunter S. Thompson:
      The Father of Fake News, Part 6

      James J. O'Meara

      2

    • The Journey:
      Russian Views, Part One

      Steven Clark

      4

    • Counter-Currents Radio Podcast No. 473
      Ask Me Anything with Greg Johnson

      Counter-Currents Radio

    • This Weekend’s Livestreams
      Ask Me Anything on Counter-Currents Radio & Anthony Bavaria on The Writers’ Bloc

      Greg Johnson

      1

    • The Counter-Currents 2022 Fundraiser
      Raising Our Spirits

      Howe Abbott-Hiss

      6

    • Hunter S. Thompson:
      The Father of Fake News, Part 5

      James J. O'Meara

      11

    • The Freedom Convoy & Its Enemies

      Gunnar Alfredsson

      3

    • The China Question

      Nicholas R. Jeelvy

      52

    • Rozhovor s Alainom de Benoistom o kresťanstve

      Greg Johnson

    • Your Donations at Work
      New Improvements at Counter-Currents

      Greg Johnson

      13

    • Mau-Mauing the Theme-Park Mascots

      Jim Goad

      19

    • The Overload

      Mark Gullick

      13

    • Knut Hamsun’s The Women at the Pump

      Spencer J. Quinn

      3

    • Remembering Knut Hamsun
      (August 4, 1859–February 19, 1952)

      Greg Johnson

      8

    • Tito Perdue’s Cynosura

      Anthony Bavaria

    • Hunter S. Thompson:
      The Father of Fake News, Part 4

      James J. O'Meara

      4

    • Counter-Currents Radio Podcast No. 472
      Hwitgeard on The Writers’ Bloc

      Counter-Currents Radio

    • Ask A. Wyatt Nationalist
      Is it Rational for Blacks to Distrust Whites?

      Greg Johnson

      29

    • سكوت هوارد مجمع المتحولين جنسياً الصناعي لسكوت هوار

      Kenneth Vinther

    • Europa Esoterica

      Veiko Hessler

      21

    • Hunter S. Thompson:
      The Father of Fake News, Part 3

      James J. O'Meara

      4

    • Yarvin the (((Elf)))

      Aquilonius

      12

    • Counter-Currents Radio Podcast No. 471
      Ask Me Anything with Greg Johnson & Mark Collett

      Counter-Currents Radio

      1

    • The Worst Week Yet:
      July 23-30, 2022

      Jim Goad

      37

    • Hunter S. Thompson:
      The Father of Fake News, Part 2

      James J. O'Meara

      2

    • Real Team-Building

      Nicholas R. Jeelvy

      10

    • Counter-Currents Radio Podcast No. 470
      Greg Johnson Interviews Bubba Kate Paris

      Counter-Currents Radio

    • This Weekend’s Livestreams
      Bubba Kate Paris followed by Mark Collett on Counter-Currents Radio & Hwitgeard on The Writers’ Bloc

      Greg Johnson

      2

    • Význam starej pravice

      Greg Johnson

    • The Counter-Currents 2022 Fundraiser
      Reasons to Give to Counter-Currents Now

      Karl Thorburn

      1

    • Hunter S. Thompson:
      The Father of Fake News, Part 1

      James J. O'Meara

      16

    • I Dream of Djinni:
      Orientalist Manias in Western Lands, Part Two

      Kathryn S.

      31

    • مأساة الأولاد المزيفين

      Morris van de Camp

    • Announcing Another Paywall Perk:
      The Counter-Currents Telegram Chat

      Cyan Quinn

    • I Dream of Djinni:
      Orientalist Manias in Western Lands, Part One

      Kathryn S.

      34

    • The Great White Bird

      Jim Goad

      43

  • Classics Corner

    • Pulp Fiction

      Trevor Lynch

      46

    • Now in Audio Version
      In Defense of Prejudice

      Greg Johnson

      31

    • Blaming Your Parents

      Greg Johnson

      29

    • No Time to Die:
      Bond’s Essential Whiteness Affirmed

      Buttercup Dew

      14

    • Lawrence of Arabia

      Trevor Lynch

      16

    • Notes on Schmitt’s Crisis & Ours

      Greg Johnson

      8

    • “Death My Bride”
      David Lynch’s Lost Highway

      Trevor Lynch

      9

    • Whiteness

      Greg Johnson

      30

    • What is American Nationalism?

      Greg Johnson

      39

    • Notes on the Ethnostate

      Greg Johnson

      16

    • Heidegger & Ethnic Nationalism

      Greg Johnson

      14

    • To a Reluctant Bridegroom

      Greg Johnson

      26

    • Lessing’s Ideal Conservative Freemasonry

      Greg Johnson

      16

    • Restoring White Homelands

      Greg Johnson

      34

    • Introduction to Plato’s Republic, Parts 1 & 2

      Greg Johnson

      2

    • White Nationalist Delusions About Russia

      Émile Durand

      116

    • Batman Begins

      Trevor Lynch

    • The Dark Knight

      Trevor Lynch

    • Leo Strauss, the Conservative Revolution, & National Socialism, Part 1

      Greg Johnson

      22

    • The Dark Knight Rises

      Trevor Lynch

      22

    • Introduction to Aristotle’s Politics

      Greg Johnson

      16

    • Hegemony

      Greg Johnson

      11

    • Reflections on Carl Schmitt’s The Concept of the Political

      Greg Johnson

      14

  • Paroled from the Paywall

    • Counter-Currents Radio Podcast No. 463
      Riley Waggaman on Russia Since the Sanctions

      Counter-Currents Radio

    • Contemplating Suicide

      Greg Johnson

      7

    • What Is the Ideology of Sameness?
      Part 2

      Alain de Benoist

    • On the Use & Abuse of Language in Debates

      Spencer J. Quinn

      26

    • Counter-Currents Radio Podcast No. 462
      The Best Month Ever on The Writers’ Bloc with Cyan Quinn

      Counter-Currents Radio

    • A White Golden Age Descending into Exotic Dystopian Consumerism

      James Dunphy

      1

    • Counter-Currents Radio Podcast No. 460
      American Krogan on Repatriation, Democracy, Populism, & America’s Finest Hour

      Counter-Currents Radio

      2

    • Cryptocurrency:
      A Faustian Solution to a Faustian Problem

      Thomas Steuben

      1

    • Counter-Currents Radio Podcast No. 458
      Gregory Hood & Greg Johnson on Burnham & Machiavellianism

      Counter-Currents Radio

      3

    • Brokeback Mountain

      Beau Albrecht

      10

    • Counter-Currents Radio Podcast No. 457
      Greg Johnson & Millennial Woes on Common Mistakes in English

      Counter-Currents Radio

      12

    • Deconstructing Our Own Religion to Own the Libs

      Aquilonius

      20

    • Counter-Currents Radio Podcast No. 456
      A Special Juneteenth Episode of The Writers’ Bloc with Jim Goad

      Counter-Currents Radio

      2

    • “I Write About Communist Space Goths”:
      An Interview with Beau Albrecht

      Ondrej Mann

      6

    • Christianity is a Vast Reservoir of Potential White Allies

      Joshua Lawrence

      42

    • Counter-Currents Radio Podcast No. 455
      The Counter-Currents 12th Birthday Celebration, Part 2

      Counter-Currents Radio

    • Counter-Currents Radio Podcast No. 454
      Muhammad Aryan on The Writers’ Bloc

      Counter-Currents Radio

      8

    • Counter-Currents Radio Podcast No. 453
      The Counter-Currents 12th Birthday Celebration, Part 1

      Counter-Currents Radio

      3

    • Look What You Made Me Do:
      Dead Man’s Shoes

      Mark Gullick

      4

    • Rome’s Le Ceneri di Heliodoro

      Ondrej Mann

      8

    • Anti-Semitic Zionism

      Nicholas R. Jeelvy

      11

    • Counter-Currents Radio Podcast No. 452
      The Best Month Ever on The Writers’ Bloc with Stephen Paul Foster

      Counter-Currents Radio

    • No More Brother Wars?

      Veiko Hessler

    • After the Empire of Nothing

      Morris van de Camp

      2

    • Counter-Currents Radio Podcast No. 451
      The Writers’ Bloc with Josh Neal on Political Ponerology

      Counter-Currents Radio

    • Counter-Currents Radio Podcast No. 450
      The Latest Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      3

    • Counter-Currents Radio Podcast No. 449
      Greg Johnson & Gregory Hood on The Northman

      Counter-Currents Radio

      2

    • Paying for Veils:
      1979 as a Watershed for Islamic Revivalists

      Morris van de Camp

      3

    • Céline vs. Houellebecq

      Margot Metroland

      2

    • Counter-Currents Radio Podcast No. 448
      The Writers’ Bloc with Karl Thorburn on Mutually Assured Destruction

      Counter-Currents Radio

      1

  • Recent comments

    • Josephus Cato Ask Not What They’re Doing to Trump — Ask What Trump Did For You On the note of typos/mistakes.  I just submitted a 70 something page thesis.  Even when I was in the...
    • Traddles Ask Not What They’re Doing to Trump — Ask What Trump Did For You Cody22, like you I'll always be grateful to Trump for preventing Hillary from becoming president. ...
    • Jim Goad Ask Not What They’re Doing to Trump — Ask What Trump Did For You 10 Commandments For My Son
    • Jim Goad Ask Not What They’re Doing to Trump — Ask What Trump Did For You "What Trump did for us was prove that elections work." Does that mean the 2020 election wasn't...
    • Jeffrey A Freeman Ask Not What They’re Doing to Trump — Ask What Trump Did For You What Trump did for us was prove that elections work. It’s not already decided. Hillary was not...
    • Hamburger Today Stop LARPing & Start Preparing Take the Jews out of 'the Left' and there's not much left. But there is still something and it's...
    • speedoSanta Ask Not What They’re Doing to Trump — Ask What Trump Did For You I was more pleased with the political situation during the Trump years than I am now.  I especially...
    • Rockerman Ask Not What They’re Doing to Trump — Ask What Trump Did For You Jim Goad: "You act as if you know what animated everyone who ever supported Trump, and for some...
    • Djervo Ask Not What They’re Doing to Trump — Ask What Trump Did For You At least Trump takes a decent stance on the war in Ukraine, being in favor of de-escelation,...
    • Sinope Cynic Ask Not What They’re Doing to Trump — Ask What Trump Did For You Elitists are elitist, left or right.
    • Scott Hunter S. Thompson:
      The Father of Fake News, Part 7
      I really enjoyed this series of articles. Thanks. :-)
    • Jim Goad Ask Not What They’re Doing to Trump — Ask What Trump Did For You “We were never really excited about Trump.”Who is this "we" you claim to speak for?“a spark that...
    • Jim Goad Ask Not What They’re Doing to Trump — Ask What Trump Did For You "You’ll never be asked to pay a single cent of the national debt..." Good to know. Could you please...
    • Weave Ask Not What They’re Doing to Trump — Ask What Trump Did For You Dear Jim, you and I have sons about the same age and I am asking you this in all sincerity. What are...
    • Kevin Ask Not What They’re Doing to Trump — Ask What Trump Did For You This Donald Trump raid is bread and circus for conservatives.  It will get normies on conservative...
    • Beau Albrecht Ian Smith’s Great Betrayal What a snake!  Mugabe was better than Kissinger in one respect - you knew where he was coming from,...
    • Vauquelin Ask Not What They’re Doing to Trump — Ask What Trump Did For You We were never really excited about Trump. We were excited about meme magic, the overton shift, and...
    • Enoch Powell Ask Not What They’re Doing to Trump — Ask What Trump Did For You I didn't skip over anything in your article. You'll never be asked to pay a single cent of the...
    • eah Ask Not What They’re Doing to Trump — Ask What Trump Did For You I didn't say or imply that there's nothing to be done, or that we should give up (although I...
    • Ian Smith Ask Not What They’re Doing to Trump — Ask What Trump Did For You The strike on Soleimani and the inactivity during the BLM riots made me very unenthusiastic for him...
  • Book Authors

    • Anthony M. Ludovici
    • Beau Albrecht
    • Buttercup Dew
    • Christopher Pankhurst
    • Collin Cleary
    • F. Roger Devlin
    • Fenek Solère
    • Francis Parker Yockey
    • Greg Johnson
    • Gregory Hood
    • H. L. Mencken
    • Irmin Vinson
    • J. A. Nicholl
    • James J. O’Meara
    • Jef Costello
    • Jim Goad
    • Jonathan Bowden
    • Juleigh Howard-Hobson
    • Julius Evola
    • Kerry Bolton
    • Leo Yankevich
    • Michael Polignano
    • Multiple authors
    • Savitri Devi
    • Spencer Quinn
    • Tito Perdue
    • Trevor Lynch
  • Webzine Authors

    Contemporary authors

    • Howe Abbott-Hiss
    • Beau Albrecht
    • Aquilonius
    • Anthony Bavaria
    • Michael Bell
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Giles Corey
    • Jef Costello
    • Morris V. de Camp
    • F. Roger Devlin
    • Bain Dewitt
    • Jack Donovan
    • Ricardo Duchesne
    • Émile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Guillaume Faye
    • Stephen Paul Foster
    • Fullmoon Ancestry
    • Jim Goad
    • Tom Goodrich
    • Alex Graham
    • Mark Gullick
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Richard Houck
    • Alexander Jacob
    • Nicholas R. Jeelvy
    • Greg Johnson
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • Trevor Lynch
    • Kevin MacDonald
    • G. A. Malvicini
    • John Michael McCloughlin
    • Margot Metroland
    • Millennial Woes
    • John Morgan
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Spencer J. Quinn
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Hervé Ryssen
    • Kathryn S.
    • Alan Smithee
    • Fenek Solère
    • Ann Sterzinger
    • Thomas Steuben
    • Robert Steuckers
    • Tomislav Sunić
    • Donald Thoresen
    • Marian Van Court
    • Dominique Venner
    • Irmin Vinson
    • Michael Walker
    • Aylmer Wedgwood
    • Scott Weisswald
    • Leo Yankevich

    Classic Authors

    • Maurice Bardèche
    • Julius Evola
    • Ernst Jünger
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Francis Parker Yockey
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
Sponsored Links
Alaska Chaga Antelope Hill Publishing Paul Waggener Breakey Imperium Press American Renaissance A Dissident’s Guide to Blacks and Africa The Patrick Ryan Show Jim Goad The Occidental Observer
Editor-in-Chief
Greg Johnson
Books for sale
  • Trevor Lynch’s Classics of Right-Wing Cinema
  • The Enemy of Europe
  • Imperium
  • Reactionary Modernism
  • Manifesto del Nazionalismo Bianco
  • O Manifesto Nacionalista Branco
  • Vade Mecum
  • Whiteness: The Original Sin
  • Space Vixen Trek Episode 17: Tomorrow the Stars
  • The Year America Died
  • Passing the Buck
  • Mysticism After Modernism
  • Gold in the Furnace
  • Defiance
  • Forever & Ever
  • Wagner’s Ring & the Germanic Tradition
  • Resistance
  • Materials for All Future Historians
  • Love Song of the Australopiths
  • White Identity Politics
  • Here’s the Thing
  • Trevor Lynch: Part Four of the Trilogy
  • Graduate School with Heidegger
  • It’s Okay to Be White
  • The World in Flames
  • The White Nationalist Manifesto
  • From Plato to Postmodernism
  • The Gizmo
  • Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
  • Toward a New Nationalism
  • The Smut Book
  • The Alternative Right
  • My Nationalist Pony
  • Dark Right: Batman Viewed From the Right
  • The Philatelist
  • Confessions of an Anti-Feminist
  • East and West
  • Though We Be Dead, Yet Our Day Will Come
  • White Like You
  • Numinous Machines
  • Venus and Her Thugs
  • Cynosura
  • North American New Right, vol. 2
  • You Asked For It
  • More Artists of the Right
  • Extremists: Studies in Metapolitics
  • The Homo & the Negro
  • Rising
  • The Importance of James Bond
  • In Defense of Prejudice
  • Confessions of a Reluctant Hater (2nd ed.)
  • The Hypocrisies of Heaven
  • Waking Up from the American Dream
  • Green Nazis in Space!
  • Truth, Justice, and a Nice White Country
  • Heidegger in Chicago
  • End of an Era: Mad Men & the Ordeal of Civility
  • Sexual Utopia in Power
  • What is a Rune? & Other Essays
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
  • The Lightning & the Sun
  • The Eldritch Evola
  • Western Civilization Bites Back
  • New Right vs. Old Right
  • Journey Late at Night: Poems and Translations
  • The Non-Hindu Indians & Indian Unity
  • I do not belong to the Baader-Meinhof Group
  • Pulp Fascism
  • The Lost Philosopher, Second Expanded Edition
  • Trevor Lynch’s A White Nationalist Guide to the Movies
  • And Time Rolls On
  • Artists of the Right: Resisting Decadence
  • North American New Right, Vol. 1
  • Some Thoughts on Hitler
  • Tikkun Olam and Other Poems
  • Summoning the Gods
  • Taking Our Own Side
  • Reuben
  • The Node
  • The New Austerities
  • Morning Crafts
  • The Passing of a Profit & Other Forgotten Stories
Sponsored Links
Alaska Chaga Antelope Hill Publishing Paul Waggener Breakey Imperium Press American Renaissance A Dissident’s Guide to Blacks and Africa The Patrick Ryan Show Jim Goad The Occidental Observer
  • Rss
  • DLive
  • Telegram
  • Gab
  • Entropy
Copyright © 2022 Counter-Currents Publishing, Ltd.

Paywall Access





Please enter your email address. You will receive mail with link to set new password.

Edit your comment