One of the more obvious hallmarks of an emerging totalitarian state is one which shows early signs of an assault on art, culture and freedom of expression. It comes as no great surprise then, that the pernicious, evil beast that is the European Union should make classical culture and artistic beauty public enemy number one in its cultural warfare against the nations and minds of Europe. Two striking examples of this in the musical sphere have occurred already in 2008: Bagpipes in Scotland and The BBC Proms. Both are the consequence of EU directives specifically targeting the permitted decibel levels of musical performances, ostensibly for the “health and safety” of the performers.

Once again, in the topsy turvy world of Orwellian sophistry that spews from that cesspit of corruption in Brussels, nothing could be further from the truth.

To illustrate the point, where is the equivalent regulation of the increasingly Satanic rock festivals from Lordi to Alice Cooper, or the wide array of ugly, phallic, totem like “art” that is springing up all around us with alarming rapidity? And what about the wanton alcohol and drug abuse culture that is tolerated, almost even openly promoted, by the laissez-faire attitude of increasingly powerless member state governments to the celebrity class, in all their self destructive glory? Could it be that these ultimate expressions of violent, irrational, politically malleable, Dionysian culture are the modern equivalent of those that the Nazis perfected with their Nuremburg rallies and book burning ceremonies?

In order to frame these issues clearly, it is important to reflect on the central problems that have occupied philosophers, theologians and poets throughout the ages from Ancient Greece to the modern day. For example, in Plato’s classic book “The Republic”, Socrates engages in a vigorous and intemperate debate with the mighty Thrasymachus, a political figure of some renown, and notable oratorical skills. The central crux of this famous debate is the form of government best suited to manage the affairs of the population. Socrates, taking the humanist viewpoint, argues that the role of government is to promote the highest good and thereby secure the long term prosperity, security and cultural progress of the entire body politic. Thrasymachus on the other hand takes the opposite view, that government exists simply to enforce the will of the ruling oligarchy, and that no common good exists to which politics might aspire. Again, in the Meno dialogue, Socrates demonstrates conclusively (by the exercise of the doubling of the square by an uneducated slave boy), that knowledge is not learned, but rather remembered, and that therefore no man can or should ever be treated as inferior.

So what is the issue here? Well, if history teaches us anything it is that the ongoing epistemological, cultural, political and ultimately military conflict within extended European civilization is axiomatically rooted in a fundamental disagreement over the nature of man. On one side you have those who insist that man is an animal, a beast that must be controlled and suppressed by the all encompassing “protective” power of the state. On the other side, you have the philosophical outlook associated with the Platonists, via the Christian apostles, through St Augustine and on down through Nicolas of Cusa, St Thomas More and others, who insist on the definition of man as made in the image of the creator, as in Genesis. It is the tyrannical inclinations of those who promote the fraudulent, bestial image of man, that continually create the social conditions which, in a deliciously ironic self fulfilling prophecy, are then used to justify this malign and irrational perspective, and all that flows from it in the social and political sphere.

With this much said as background, it should be clear that a truly human civilization can only exist in a culture which expresses the diametrically opposing principle, of man as a creature of creative and scientific reason. As such, we can expect any form of cultural expression commensurate with this positive principle to be attacked and ultimately outlawed in our emerging World Socialist Utopia, where every form of degradation, corruption, vice and evil will become the “norm,” with appropriate, ludicrously draconian punishments for those who break “the law.” By way of illustration, here is a small sample of other ugly “art” from around the country: Boab 1, Yalta Memorial, Conversation, Sterling, The Watchers, Column , Eye-I.

Does anyone suppose that these wonderful examples of uplifting, inspiring art, just perhaps might be the work of artists supported, promoted and funded by EU grants or Common Purpose? I don’t have any hard evidence to prove it, but it certainly would stand to reason in view of the argument I have made here. Since it is now common knowledge that the Congress for Cultural Freedom was itself largely funded by the CIA, there are clear precedents for this kind of social engineering in the artistic sphere.

However, a word of caution to those who would prosecute this assault on our culture and freedoms: The divine spark of reason is not easily extinguished and will only rage into a greater fire when suppressed by force. The greatest horrors in modern history all have their genesis in the same forces of tragedy: the inevitable revenge of natural law against a society that has abandoned its founding principles of faith, family, respect for the rule of law, and common decency to our fellow citizens.

It is no accident that the rising tide of violence in this country is exploding upon us now, at the fag-end of decades of savage bestialisation of our culture. In the midst of this increasingly grave social, political and economic crisis, we simply cannot allow the best that we have to offer our children and our nation to be extinguished in a whimper of placid compliance; for in losing what remains of our classical heritage, we will also lose the soul of the nation that we ache to see restored, and with it, all hope of a Renaissance, and a better future for all.

We must not permit this picture of Dorian Gray, this unholy catastrophe of cultural permissiveness and breakdown, to be the lens through which we view ourselves and our world.

And so, the time has come to take back our culture, our minds and our future by drawing the line right here and instigating a fierce and sustained rebellion against these invasive and insidious directives. For mark my words, if we do not resist them, it will not stop here, the dark forces of cultural bestiality will only escalate their attacks, and ultimately succeed in their aim of degrading our artistic and cultural life to those forms from which the global music cartels make their most money, and achieve the maximum corruption of the morals of our vulnerable youth.

We are now conducting an investigation into the process by which these directives came into being, and will post further updates as the information becomes available. In the meantime, we urge our readers to write to the media and complain loudly and vigorously about this state of affairs.