Tag Archives: Toulouse

Nightmare on Bourbon Street—Saturday 30 May 2015—Western Civilization is Dead

I went on a rare walk down Bourbon Street last (Saturday) night. The behavior and demeanor of the people I saw made me want to vomit…. It’s time to reinstitute mass deportations of degenerates…. or perhaps even mass executions….there’s no point in trying to “reform” this many drunken, sex-obsessed, aimless people—send them all to whorehouses in Thailand… or give them a relatively painless death. They are of no use to themselves OR the rest of humanity….. but this is only part of my greatest gripe:

The remnants of the Great South are vanishing every day. The great moral and patriotic spirit of the Anglo-Saxon, German, Spanish and French Colonial people has been mostly, perhaps totally, extinguished. What’s especially sad is the view from here in New Orleans of the present day, once the greatest city and shining light of Southern and Western Civilization.

In 1860, Bourbon Street was something like the sum total of what Madison Avenue plus Fifth Avenue between 75th and 85th plus Central Park West are today—in the midst of the elite residences and commercial financial district was founded the greatest Opera House in the Western Hemisphere (aka “The French Opera”) at the corner of Toulouse and Bourbon.

Now, given the modern reality, I normally avoid Bourbon Street like the bubonic plague it so closely resembles, but when visitors come into town they ALWAYS want to see Bourbon Street. Last night was a typical Saturday night—mobbed with people, black and white, in the lowest stages of self-destructive, voluntary degeneracy.

The people, both black and white and “other” I saw out on Bourbon Street were mostly residents of the Southern USA, to the degree I could hear their accents in the hopeless cacophony and din… William Faulkner and Tennessee Williams wrote of what they perceived as the degeneracy of the ruined post-War, post-Reconstruction South—but they never saw ANYTHING as bad as the scene on Bourbon Street—on a normal Saturday night…

So today, all we can see today is the exact OPPOSITE of the spirit of patriotism and freedom that led to Revolution in 1776, Secession in 1860-61, and brave resistance 1954-1974. And now indeed, in the crowds of wretched humanity evidenced on Bourbon Street, what should have been the symbolic center of Southern and Western American Civilization, we see ONLY the offal (the waste and bi-products) of the world—they are to be pitied, up to a point, but I wish I didn’t have to look at them in MY favorite city.

And of all the great monuments to the Southern people, some commie-pinko bastard has been passing out fliers all over town “There are several hundred examples of white supremacist monuments in New Orleans, Here are about 2 dozen examples….” Starting of course with the Robert E. Lee obelisk and monument “@Lee Circle” but (somewhat ironically) even including “Judah Touro Hospital” because Judah Touro was a “Jewish slaveholder” and Tulane University because “Paul Tulane” (a northerner who graduated from Princeton University in New Jersey) “gave the most money to the Confederacy.”

The people are all anesthetized (temporarily?) or permanently brain dead…..Cry for our Beloved Country!

Gilad Atzmon on his support for Dieudonne—interviewed on Al Jazeerah—I had the honor and privilege of meeting Gilad Atzmon last week in New York

I have been following Gilad Atzmon’s writings and advocacy for about six years now, and I consider him one of the foremost cultural, ethnic, socio-historical and political philosophers of our time.  Gilad is traveling in the United States and, if you get a chance to listen to his lectures or music, I urge you to do so.  I have NEVER met anyone quite like him.  I met him last week in New York City when he was staying as the guest of Michael Santomauro on the Upper East Side.  The several days spent with these two were one of the most intense intellectual experiences of my life, fully comparable to any seminar discussion on historical formation or cultural process, micro-or-macro evolution and ethnic identity or politics that I ever had in Anthropology, Biology, or History at Harvard or in Law at the University of Chicago—the level of feverish debate was (in my personal memory anyhow) closest to in chambers meetings between law clerks and Externs for the Ninth Circuit between clerks for Stephen Reinhardt and Alex Kozinski….  Everyone concerned with American, European, or Middle Eastern Culture, Economy, or Politics today needs to read Gilad Atzmon’s latest book The Wandering Who?

Al-Jazeerah: Cross-Cultural Understanding

Opinion Editorials, February 2014

Dieudonné, Alain Soral, and Zionism:Gilad Atzmon Interviewed By Alimuddin UsmaniAl-Jazeerah, CCUN, February 24, 2014

AU: What led you to offer Dieudonné such support in his struggle against the French government?

GA: Dieudonné is the true meaning of resistance.  Being cogent and coherent, he has managed to expose in France the corrosive bond between contemporary Zionised socialism and Jewish political power.

For some time now, many of us who, in the 60s and 70s, were inspired by Left thinking have been confused by contemporary ‘progressive’ politics. For some reason, the so-called ‘New Left’ was very quick to compromise on crucial issues to do with labour and working class politics. Instead of siding with the workers and those struggling in society, the post-68 Left  adopted an identity-politics discourse that was actually aimed at breaking up society and the working class into isolated marginalisd groups. This led to political paralysis which in turn prepared the way for the invasion of big money, monopoly culture and globalization. It is this that Dieudonné, has managed to expose. He has also identified the power of the Holocaust religion and Jewish lobby power at the very heart of political establishment. Being the author of The Wandering Who – the book that took apart Jewish identity politics, I see Dieudonné as a continuation of myself. He is my twin and I stand up for both him and his cause.

AU: Dieudonné’s detractors accuse him of antisemitism and as evidence they offer that in his show, (now banned) he said this about a prominent Jewish radio journalist: “You see, when I hear Patrick Cohen speak, I think to myself : Gas chambers…too bad”. His supporters explain that Dieudonné was simply responding to a provocation from this journalist who said that Dieudonné must be blacklisted from mainstream media and that people with “mental illness ” shouldn’t be invited to comment publically. What do you think? Did he go too far or do you think he had the right to respond to someone who wished for his social, economic and professional demise?

GA: Those Jews who insist that the Holocaust become our new state religion must accept that such a claim comes with a price. If you choose to identify yourself with gas chambers, Auschwitz and victimhood you must also accept that you will be identified as such by others.  I have no problem with Dieudonné’s reaction to Cohen. Dieudonné is an artist, his duty is to reshape and revise the vision of the world around us. Accordingly, placing a mirror in front of Cohen was a most appropriate thing to do.

AU: The only main political party in France who didn’t join in this “Dieudonné bashing” is the nationalist National Front founded by Jean-Marie Le Pen. What is your explanation of that?

GA: It obviously means that in terms of tolerance and multi-cultural/ethnic openness your Nationalists are way ahead of any so called ‘progressives’ and the Left. But this does not surprise me. The Left has always found it difficult to bond with working people, in fact, the entire ‘progressive’ ethos is elitist to the bone. And again, this should come as no surprise. After all. identifying oneself as  ‘progressive’ surely means that someone else must be ‘reactionary’ – and that someone else is the working man or woman. This may explain why being ‘progressive’ is so attractive to so many Jews – it offers a godless alternative to their traditional choseness. It also explains why the workers generally stay away as far from the Left as they can. They much prefer identifying with the whole, the grand collective narrative, with the flag and with the language. rather than be progressive, they prefer to be patriotic and nationalist. And the outcome is clear: The  left eventually drifts away into a state of total detachment which is the exact state of the French socialist at the moment.

Now, Dieudonné, has managed to galvanize this Left detachment. Here we have a black person who enjoys the support of the National Front and is cheered on by a massive popular movement consisting of migrants and White working class – and all this has now matured into one giant Left collective neurosis. How amusing is this?

AU: Thanks to Nicolas Anelka, the British Media started to talk about Dieudonné. According to Alain Soral, the  BBC conducted quite fair interview with him : http://www.youtube.com/watch?v=G8gdbXHsVks

Can you explain to us why the French media seem unable to give the same fair treatment to this story?

GA: To start with, let’s not delude ourselves. It is easy for Brits to mock French kosher totalitarianism but believe me, no one in the BBC dares discuss the embarrassing fact that 80% of our Tory MPs are Conservative Friends of Israel. No one in the BBC has ever been brave enough to delve into the embarrassing fact that when Tony Blair took us into an illegal war in Iraq, his chief fundraiser was Lord Levy and the LFI (Labour Friends of Israel). But let me answer your question as concisely as I can.

Jewish power is the capacity to control and limit the discussion on Jewish power. CRIF and BHL are not the essence of Jewish power, they are just symptoms of this power. The real Jewish power is the capacity to silence all discussion of the Lobby, CRIF and HBL. So Alain Soral should carry the ban against him as a badge of honour. It only reaffirms that the media doesn’t find within itself the intellectual capacity to challenge him and his work. This is hardly surprising, I’ve now begun to realise that George Orwell might well have been the last thinking person in the Left. The contemporary Left is a soundbite culture far removed from any dialectical thinking or intellectual exchange. It is indeed a tragedy.

AU: In our last interview you told us that you “learned that most Palestinian NGOs are funded by liberal Zionist George Soros’ Open Society Institute.”  A French cartoonist named Joe le Corbeau, who was briefly arrested over a photo of a quenelle http://www.crescentcityjewishnews.com/man-arrested-over-photo-of-quenelle-in-front-of-toulouse-jewish-school/, suggested in one of his cartoons that Femen are funded by Soros : http://judeologie.com/2013/05/28/the-femen-powers-prostitutes-par-joe-le-corbeau/

Do you think that may explain why these women perform only in mosques and churches and never in synagogues?

GA: Obviously, I don’t know whether Femen is funded by Soros but it wouldn’t surprise me if they are. Soros’ philosophy, as far as I understand it, is very simple. He is a Liberal Zionist who funds a lot of ‘good causes’ – causes that just happen to also be ‘good for the Jews’.

Now, let me address Femen’s preferred choice of ‘artistic’ venues. As you probably know, Post-Structuralism is pretty much a French philosophical school of thought and may be  defined as an attempt to dismantle all ‘grand narratives’ except the Jewish one. In concert with the spirit of the 68 students’ revolution and the Frankfurt Yeshiva, Femen are more than happy pull apart every French cultural heritage – except the Jewish ones. Just follow the money trail, those people who facilitated their move to France – the record label and the ANR who signed them. Surely, you’ll find the answers within just a few minutes.

Here is an interesting anecdote that may throw some light on the topic. It was recently pointed out to me that in spite of the fact that Jewish radicals despise the Talmud and the Rabbinical culture and have been caught burning many religious congregation houses, mainly churches in Spain and the Ukraine etc.,  they have never burned a single synagogue.

AU: People who support the right of Femen to blaspheme are often the same people who call for the banning of Dieudonné’s shows. Don’t you think that these kinds of double standards will lead people to rise up against the elite?

GA: No doubt at all, and as we see, it’s already happening.

AU: Former Israeli minister Shulamit Aloni, who recently passed away, once said that accusation of antisemitism is a “trick” used to shut down critics of Israeli policy:http://www.youtube.com/watch?v=LLbtu0-mgvw  How do you explain the current weakness of the Israeli left?

GA: ‘Weakness’ is an understatement. The Israeli left is non-existent and for a good reason: Jewish Left is an oxymoron. While ‘Left’ is a universal concept, Jewishness is a tribally driven ideology. Even Aloni,  whom I admired, wasn’t exactly a ‘universalist’. She didn’t really campaign for the return of the Palestinian refugees to their homes and villages, she was mainly concerned with Israel being a ‘Jewish civilization’ as opposed to a universal one.

It is not a secret that the so-called ‘Jewish Left’ is in practice, a form of National Socialism. Those ‘radical’ Israeli leftists support a racially-driven ‘egalitarian’ philosophy – which applies to Jews only. In other words, they are full of contradictions so it’s hardly surprising that they are now pretty much extinct. On the other hand, right wing Israeli politics,  is as consistent as it is crudely unethical. It postulates that Jews are entitled to return to Palestine, and it draws on a vile, militaristic ideology and practice that aims to maintain this  Jewish hold on the land. Right-wing Zionist  leaders admit daily to not being ethical – but they justify their national project in terms of survival. Since Israel defines itself as the Jewish State, it is only natural for Israelis to identify with a consistently tribal right-wing ideology instead of some half-baked, convoluted and totally inconsistent (but always kosher), socialist clap-trap.

The Wandering Who? A Study Of Jewish Identity politics and Jewish Power in particular – available on Amazon.com  Amazon.co.uk

Interview: Atzmon on Dieudonné, Alain Soral and Zionism


Interviewed by Alimuddin Usmani


Opinions expressed in various sections are the sole responsibility of their authors and they may not represent Al-Jazeerah & ccun.org.

editor@aljazeerah.info editor@ccun.org


The French Opera at Bourbon and Toulouse, New Orleans, Louisiana 70112 (or “dialectic process engendered by the contradictions inherent in all things is the prime mover of cultural and political change and evolution”)

For one who was raised on heavy doses of opera, and with a great reverence for the heritage, history, and traditions of the American South, Louisiana, and in particular of New Orleans, I do not know how it never registered with me before last week that the first opera house in the United States opened in New Orleans on December 1, 1859, in an impressive neo-Classical structure which stood for exactly sixty years at the corner of Bourbon and Toulouse in the Vieux Carre (French Quarter) of New Orleans, Louisiana 70112 (http://www.neworleansonline.com/neworleans/arts/operano.html)

The site is now occupied by the Ramada Inn on Bourbon, Ramada being a distinctly “LMC” hotel chain, and this particular Ramada caters to the alcohol-soused and unwashed masses who parade up and down Bourbon Street in a nearly continuous year round nightly ritual re-enactment of the ancient and Mediaeval “Wild Hunt” of Northern, Western and Central Europe.

Opera is, or at least Opera was for about 250-300 years, an elite marker of the very height of European artistic achievement in music and theatre.  From the time of Henry Purcell to Giaccomo Puccini, it was the standard to which all other art forms aspired—or which comedians ridiculed as symbolic of what was wrong with the elite (e.g. W.S. Gilbert).

As an art form Opera is now semi-fossilized—for my part I cannot accept the legitimacy of contemporary works such as the “Ghosts of Versailles” or “Nixon in China” as “real” opera, nor do I see these efforts as having much longevity or legitimacy—and so the mainstay of the Metropolitan Opera in New York and Covent Garden in London remains the repertoire of 18th, 19th, and very early 20th century opera by Mozart, Donizetti, Meyerbeer, Verdi, Bizet, and Puccini, with the ten gesamtkunstwerken of Richard Wagner enjoying a perpetual “special status”, the elite of operas even among opera-goers.

Bourbon Street today is….a hedonistic extravaganza of booze and sex at its most vulgar.  The gangs there during this Christmas-to-New Years’ Holiday are mostly white, aged 16-40 (I’m definitely one of the older codgers on the scene).  The men are dressed moderate casually while the women tend do be casually to-only slightly sexy, better-dressed in a kind of trashy, “party” sense.   Young girls are the center of attention.  Just as if it were Mardi Gras people stand on balconies and toss beads.  And on New Year’s Eve and the night before, the feeling has been very raucous.  Across the street from the site of the French Opera House of 1859-1919, the bar opposite the Ramada Inn on Bourbon was playing, at 3:45 am—cranked up to highest volume—“Bad Romance” by Lady Gaga.   Many operas were in fact really bad romances, but the connection and parallel pretty much ends there.  The claim of sex-traders everywhere is that their work is Erotic Art, but Bourbon Street’s domination by the purest pornography is epitomized by the several “Larry Flynt/Hustler/Barely Legal” clubs in a three block stretch.  Yankee lumpenproletariats from Portland to Peoria to Pittsburgh, Poughkeepsie, and Providence converge on Bourbon Street attracting just a sufficient number of really attractive girls to make the place an enjoyable walk for people-watching. Southern rednecks of the recovering Southern Baptist variety keep alive the twisted memory of the South with Confederate Battle Flag bandanas, grossly juxtaposed to the large minority of African-American performers and tourists (who come from both the North and South in neither greater or lesser style and “class” than their white counterparts).

In short, Bourbon Street today, and so far as my memory of it goes back (early 1970s), has been a nightmare of the worst of modern thoughtless self-indulgent LMC America.  While the small space permits the “Wild Hunt” Ritual—(hunt for beer and flashing….flesh I guess)—in a manner unparalleled anywhere, Bourbon Street’s complete moral corruption at leasts equals Las Vegas and Atlantic City.  The drunkenness, debauchery, and generally lecherous is economically parasitic and exploitative in the extreme, but it is cheaper than Las Vegas or Atlantic City. The nature of discounted debauchery reminds me of Richard Blaine’s comment in Casablanca that he had no problem with parasites, what he objected to was a cut rate one.

In short, and my own mild hypocrisy here can only shine forth as clearly as it is true—Bourbon Street offers lowbrow people a lot of genuinely lowbrow fun—at least if you can tolerate a lot of gross behavior framed by beautiful old wrought iron balconies and Spanish, French, and 19th Century American architecture.

Despite Bourbon Street, New Orleans remains one of the cultural centers of the world for at least one very active and vital art form and that is cooking and cuisine.  The food of New Orleans is incomparable: Antoine’s, Court of Two Sister’s, Tujague’s, Emeril’s Delmonico and Commander’s Palace are only among the oldest and most recognizable names in restaurants in the United States.  At least some of the lumpenproletariats who enjoy Bourbon Street at its worst apparently also can appreciate really good food.  “Oysters Rockefeller” was a dish specially prepared at Antoine’s originally for the richest man in the world, but $12-$18 will get you a dozen and that’s roughly the same as lunch at Denny’s….

But this was the site of the first opera house in the United States, apparently without any dispute (the oldest opera house in continuous operation may well be be the Bardavon 1869 Opera house in, of all places, Poughkeepsie, New York, but it doesn’t save Poughkeepsie from inclusion in the “sources of great unwashed Americans” list above. (see, e.g.,  http://hauntedneworleanstours.com/frenchoperahouse/).

The real purpose of this essay is to ask a single question: what caused the transformation of the corner of Bourbon and Toulouse from one of the centers of elite-European culture in the Americas, in 1859, to something akin to the sewer of the American soul in 2010?

My answer is that the transformation was wrought by the War of 1861-1865, known to partisans of the winning side as the “American Civil War” (although there are no analogies whatsoever to the English Civil War of the Roundheads vs. Cavaliers, aside from the explicit stylistic comparisons of the two sides), and to traditional partisans of the losing side as “the War Between the States.”  Just technically, I think the “War Between the States” is more historically descriptive of what happened, and also of the Constitutional Consequences which followed, which were of the triumph of the National Federal government over the individual states.

What was the real purpose of this War of 1861-1865?  Up to a point I think the purpose, as well as the result, as precisely the transformation of Bourbon Street. New Orleans in 1860 was poised to become one of the great cultural centers of the world, comparable to Paris or Vienna in every sense, including the existence of an hereditary aristocracy.

As the opening bars of Gone with the Wind play, the textual narrative Title Reads: “There was a land of Cavaliers and Cotton Fields called the Old South. Here in this pretty world, Gallantry took its last bow. Here was the last ever to be seen of Knights and their Ladies Fair, of Master and of Slave. Look for it only in books, for it is no more than a dream remembered, a Civilization gone with the wind.”

The puritans of the North could not tolerate a peaceful co-existence with the civilization they saw emerging in the deep Southern States, from at least New Orleans to Charleston, South Carolina.   They were envious, and I remain of the opinion that the war of 1861-1865 was the single most direct and enduring American outgrowths of the transformations of public consciousness engendered by the publication of Marx & Engels “Communist Manifesto” in 1848.

The principal demands of the Manifesto have all been met although some are only now in our time being perfected.  As accurately summarized in Wikipedia, (http://en.wikipedia.org/wiki/The_Communist_Manifesto) the Manifesto Demanded:

  1. Abolition of property in land and application of all rents of land to public purposes.
  2. A heavy progressive or graduated income tax.
  3. Abolition of all right of inheritance.
  4. Confiscation of the property of all emigrants and rebels.
  5. Centralisation of credit in the hands of the State, by means of a national bank with State capital and an exclusive monopoly.
  6. Centralisation of the means of communication and transport in the hands of the State.
  7. Extension of factories and instruments of production owned by the State; the bringing into cultivation of waste-lands, and the improvement of the soil generally in accordance with a common plan.
  8. Equal liability of all to labour. Establishment of industrial armies, especially for agriculture.
  9. Combination of agriculture with manufacturing industries; gradual abolition of the distinction between town and country, by a more equitable distribution of the population over the country.
  10. Free education for all children in public schools. Abolition of children’s factory labour in its present form. Combination of education with industrial production.

To a greater-or-lesser degree, we live in the world shaped and created by the Communist Manifesto.  The American South, in particular New Orleans, reflected a completely alternative path in which private property, inheritance, and decentralized credit would have dominated.

The final abolition of private property and inheritance in America is now taking place with governmental support in the current mortgage foreclosure crisis.  It is against that national policy of finally implementing the first demand of the communist manifesto that I have dedicated my life.

I have spent the Christmas and New Years’ Holiday in New Orleans this year at an historic hotel one half-block “Lakeside” of Bourbon Street (driving directions in New Orleans, a crescent-shaped city which curves along a major bend in the Mississippi River are traditionally not given as “north-south-east-west” but as “Riverside, Lakeside, Uptown and Downtown” with the Mississippi River, Lake Pontchartrain, Audubon Park-Tulane University, and the French Quarter and/or Faubourg Marigny beyond Esplanade as the defining “cardinal points” of the city).  I love New Orleans—I love the humid air, the sensuous (Francophile?) appreciation of life, and the beauty and unique style of the old quarter.  But I hate what Americans have done with Bourbon Street.   I hate the class-flattening approach to sex and booze and money.

I now know also that what I love most in music was born in America on Bourbon Street, which now resounds with the trashiest of the trashy repertoires of degenerate popular music.   Even real Jazz, the only completely home-grown, indigenous “American” musical genre, is rarely heard above the din on Bourbon Street, which is ironic because, in 1919 when the original French Opera House burned, Jazz was being born on Bourbon Street and its French-Quarter environs, soon to explode into the American mainstream during the “roaring 20s”.

George Washington died in 1799.   According to the sources cited, the first performance of an opera in the Americas took place in New Orleans two years before that.  Sixty years later, the French Opera House was erected in New Orleans, destined to last exactly 60 years.  1859 was the end of an amazing decade in history unlike any other when (as Jacques Barzun pointed out in his marvelous historical essay “Darwin, Marx, and Wagner” published in 1941 and in print ever since) the concepts of history, evolution, economics, and art were rapidly being transformed.  1919 was the year of the treaty of Versailles after World War I.  These 60 years in which the New Orleans Opera house stood at Bourbon and Toulouse were the years in which Marx’ ideas took the world in one direction while Wagner’s ideas took the world in the completely opposite direction, with Darwin planted squarely in the middle. I was originally due to graduate Tulane University sixty years later in 1979 (but because I took off a year to work in Honduras at the ancient Maya ruins of Copan, I ended up graduating in 1980).  Those sixty years (1919-1979) saw the final eradication of all vestiges of the Old South which had survived the war, and the transformation of Bourbon Street into the Sex and Booze pot it is today.

As astounding as it seems to me, more than 30 years (half another cycle of 60 years) have now passed since my graduation from college, and to the degree that there is any change, it is only in the further degradation of Bourbon Street by the invasion of Larry Flynt and Hustler into the “Brave New World” mentality of modern America—Pornography and trumped Eros, classless communism has all-but-completely replaced stratification based on education and cultural awareness, and private property is now all-but-a-thing of the past.