Wednesday, January 8, 2014

"My Little Pony" — A Right-Wing Dog Whistle?

“There is a fifth dimension beyond that which is known to man ... a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination.” — Rod Serling

And imagination is still pretty tame stuff compared to reality, which is always full of surprises. There is, my friends, a real blog called "My Nationalist Pony." It is not a joke. It is real. And the more I look at it and think about it the more I realize that we on the right are about three thousand times as creative and innovative than the left could ever hope to be. The left claims to be inclusive and vibrant and colorful, but in reality it leads inexorably to a gray, dismal, orwellian landscape of despair and mediocrity. It has humorless poets and boring playwrights and dismal novelists and depressing painters. The right has Ezra Pound and Taylor Calwell and Ayn Rand and L. Neil Smith and Jon McNaughton and P. J. O'Rourke, just to name a few off the top of my head.

And under the heading of "You can't make this stuff up," I give you....


My Nationalist Pony:
An Interview with Buttercup Dew

ac6f0zEditor’s Note:
When I began this interview with the creator of the My Nationalist Pony blog, I was completely unaware of My Little Pony and the whole “Brony”-sphere it has spawnedFor some background visit My Nationalist PonyEquestria Daily, and click here. Prepare yourself, gentle reader, this rabbit hole runs deep.
Let’s begin with some biographical information. Who are you? Where are you from? When were you born? Who are your people?
Ah, Buttercup is being asked to talk about himself! His favorite thing.
I would classify myself as demographically, the exact type of person that White Nationalists need to take an interest in. I’m a 23-year-old “guy” from South London, born at a now-demolished local hospital near the town of Croydon (as made famous by the folk hero Emma West). Growing up I can recall ever increasing proportions of Diversity in the schools and colleges I attended. I was raised here and have never lived significantly far from here, so I’ve always been on top of a Ground Zero for white displacement.
The issue of “My People” is a difficult one. I am the grandson of a North Italian migrant and have a fairly Roman face, and any person with an eye for ethnicity can easily spot I am not a true Anglo-Saxon native. Like any good son I’m a proud rebel, and have kicked back against my family’s persistent alienating liberalism with an interest in genetics, ethnicity, and ancestry. On a political level, I identify as a Pan-European White Nationalist. I do not feel comfortable around non-whites, mainly because they mostly harbor a desire to kill me for being whitey, on a macro scale if not a personal one. On a personal level I identify with intellectual whites who share the same racial consciousness as I do. Ultimately, “my people” are my family, or racial reflections of them; white, self-effacing, charmingly eccentric, emotionally open, and unflinchingly loyal (if not always right).
Describe your intellectual journey to White Nationalism?
My journey to White Nationalism was a short and simple one – I simply became conscious of being white. This happened to me because of a perpetual dissatisfaction of the views of the social circles I ran in, when I found conflicting viewpoints and evidence on the web. I was raised as a Christian, became an atheist, became a Communist, became a Libertarian, became an Anarcho-Capitalist, became an emergent-theory buff, then hit the Race / IQ singularity. This process, known in most parts as “growing up,” was a game of knocking over a belief system when I found a missing factor its first principles couldn’t account for.
It was shortly after the Race / IQ discovery that I first conceived of myself on a biological, racial level. The astounding fact of it is that I am a white nationalist because I thought my way through a shedload of economic and theological dogmas, and not because I was externally prompted. Around the time of opening this Pandora’s Box, I found myself listening to R.A.C metal bands like Skrewdriver and Landser, in glorious 240p Youtube playlists. I was at university, whites were a tenuous majority, and Arab men in full Muslim garb were heavily present as the shock troops of the ongoing displacement.
It was around this time I was coming to terms with being a flaming homo, so I frequented the gay bars around the place. I saw a lot of working class, masculine white men in their 30s and 40s, standing around with their thumbs metaphorically up their asses while the DJ blared out “Tragedy.” The contradiction between the male reality and “third gender” leftist fantasy about homosexual men was made very apparent to me at that time, so I never really bought the gay identity that the left was selling. Nor did I buy the Multicult fantasy that my university town was “twinned” with Bumfuck, AK47ville, Islamistan, so this all fuelled my intellectual journey to White Nationalism. It opened a window to an identity I belonged to innately, and gave me a greater purpose than sulking beside a rainbow flag. The music and ideology of White Nationalism projected an ideological shield around me that I was part of racial folk movement that was very remote, and vastly superior to, the nancy-pampy filth that surrounded me.
Tell us about your education and intellectual influences.
My state education was appalling, and I continually questioned my teachers explanations or dogmas with a cheerful naivety. I came out of the university with a mountain of debt, a disillusionment with Culturally-Marxist Enviro-Crap in every shape, and a barely contained existential crisis. It was at this point I started My Nationalist Pony. I grappled with finding an identity and gloomy employment prospects, and was sustained by two things: White Nationalism as a temporal power, and My Little Pony as an emotional, visionary power. I immediately recognized My Little Pony as a white racial folk analogy, and began to read further and further into the alternative right. It was at this point that myreal intellectual formation began.
One of the nice things about having a multi-year personal blog is that my intellectual development can be charted in reverse chronological order from the latest page. Formative influences on my outlook are all members of the fringe Right and their philosophies are only a few clicks away; some are Counter-Currents. I’m proud to say my work reflects and integrates precepts from Counter-Currents, including Collin Cleary,James J. O’MearaTrevor Lynch, and Michael O’Meara. These authors specifically provide visionary and mythology precepts that are symbiotic with my deconstruction and analysis of the canon universe of My Little Pony.
Elsewhere, I take ideas on a political and personal level from Jack Donovan, Stephen Pressfield, Koanic Soul, and Vault-Co. All of these authors have a foundation of biological determinism. The common denominator of these four is the idea that acceptance of biology is the pre-requisite to virtue; that order, (or in the shows terms, harmony) is a derivative of adhering to natural laws and working to our ethnic design.
In what’s known to CC readers, Collin Cleary and Michael O’Meara contextualize this phenomenon in Summoning the Gods and Toward the White Republic in theological and anthropological terms. My challenge – and work – is synthesizing such a large array of viewpoints into an easy to understand analogy, so White Nationalism is more readily accessible and grasped by our folk.
Before we talk about My Nationalist Pony, tell us about the Ur-text: My Little Pony. I confess that I have never seen or heard of it before. What is it about? Who created it? What is its audience?
The Ur-text is specifically, My Little Pony: Friendship is Magic, a television cartoon written for family audiences, but with an emphasis on being for little girls, as is the staple of the My Little Pony franchise. My Little Pony began as a toy line of brushable horses in the ’80s, and has always existed as an implicitly white consumer collectable. Friendship is Magic, the TV show which I write about, first aired in 2010 as part of a franchise reboot.
The structure of the show is that there is a central cast of 6 distinct ponies, each of which manifest a certain virtue, Loyalty, Laughter, Generosity, Honesty, Kindness, and Magic. Each show functions as a sort of 20-minute Aesop’s fable about the importance of a particular aspect of getting along. The actual happenings of the show aren’t of that much importance on an individual level – They’re mostly fairly formulaic storylines based on character interplay and going off to fight the Dragon, Evil Princess, Arch-Nemesis, whatever. It’s well written and snazzy. It’s an extremely fun and well written cartoon.
Importantly, the pony girls / women are feminine without being weak and helpless, the boys / men are classically masculine, it captures the idea of parity of roles, instead of a demolishing and levelling equality.
Most importantly, nearly every single element of the show is an analogy for a piece of the traditional or classical West, and the universe of the show functions according to a sort of Friendship-based European ethnocentrism. I found it interesting to note that I found a die-hard liberal handwringing in the following rant:
So . . . buffalo. If you’re a Native American, you’re not a pony. You’re not like Twilight, Applejack, Rainbow Dash, Rarity, Fluttershy, or Pinkie Pie. You’re a buffalo. And furthermore, the settlers are obviously analogues of American frontiersmen – which were, for the majority, white. The settlers are ponies. Ponies are white. [authors original emphasis]
To quote my blog, within the shows fictional universe, there is:
  • European, seasonal celebrations of raising the sun in the Summer Solstice
  • Cloud cities, halls and arenas of Ancient Greek architecture
  • Analogies for historic European warriors – Commander Hurricane/Spartan Rainbow Dash in one spectacularly pro-White episode, “Hearth Warmings Eve,” which covers the Tripartite of European society (Earthpony agriculturalists/Flying Pony Warrior-technocrats/Unicorn Aristocracy)
  • Tudor Houses in Ponyville to name a type I can identify, and a total absence of modern, multiracialist, egalitarian architecture
  • Western Frontier Pioneer towns and cowboy analogies, like Braeburn and the Appleloosan Ten Gallon Hats
  • Seasonal, Cyclical Time (derived from European seasonality)
  • Multiple, Personified Deities (as opposed to Jewish or Arabic monotheism)
  • Established monogamous families of the traditionally Western Christian variety (the Cakes, Twilights Parents)
  • Horse racing and English High Society – Fancypants and Rarity
  • Athleticism displays and events – Best Young Fliers, Wonderbolts, Youth Groups/Männerbünde
And so on and so forth.
If you watch a random episode of the show you are guaranteed to find at least some level of implicit whiteness and traditional occidental civilization. The shows characters and the conflicts they go through reflect the ideal of personal destiny as manifesting unique and indispensable racial biology, within the context of a wider, traditional, ethnocentric European society (with its own racial folk religion, celebrations, political conflicts, and phobias).

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