Never mind the left, here’s the counter-culture right

Caption: Icons of the new counter-culture. Picture: Brett R. Smith.

In 1972, Will Eisner, renowned for pioneering the “graphic novel” comic book format, and for his iconic detective hero, the Spirit, parodied the “Underground Comix” movement. As the Spirit busts down the door of a hippy underground comix studio, almost hidden in the corner is a prescient detail: one of the brutish hippies scrawls, “I have just discovered a horrible thing – we are the Establishment!”

Which begs the question: if the hippy left-wing became the Establishment, what is the new counter-culture?

Lisa De Pasquale first coined the phrase “political punk rock” in early 2015. Others, like Steve Sailer and Paul Joseph Watson, have since drawn the same conclusion: when the left are the establishment, by definition the right are the counter-culture. Hillary is stuffed-shirt Washington establishment, Trump is the brash, upstart punk iconoclast taking delight in offending the old fogeys: “loud, abrasive, hostile, white, back to basics, and fun”.

YouTube and Twitter are determined to be the Perry Como-playing, whitebread squares of the new Establishment, but, just as they did in ‘77, a generation of snotty upstarts are storming the safe spaces with a refreshing wave of political Blitzkrieg Bop. Quote:

In July this year I arrived at the Brisbane convention centre to hear right-wing YouTubers Lauren Southern and Stefan Molyneux speak on their Australian tour. The scene in the large foyer seemed more like a rock concert than a speaker tour…The experience was unlike anything I’d ever seen in my entire time being involved with politics. End of quote.

The left are not just the Establishment, they’re the elite. Just as much as any Gilded Age snobs, the modern left are wealthy and inseparably isolated from the common people. Cloistered in their coastal Versailles, they enjoy lives of pampered luxury that even a Sun King would envy. Quote:

The disconnect between the establishment media and their audiences extends beyonds politics…When the all-female Ghostbusters was released in 2016 the New York Times titled its review, “Girls Rule. Women Are Funny. Get Over It.” The problem was that the film wasn’t funny. It was terrible…Ghostbusters (2016) was garbage and audiences knew it. Similarly when Amy Schumer’s leather special was released on Netflix the reviews were so bad Netflix abolished its review section blaming right-wing trolls. End of quote.

I’ve never been much of a fan of Alex Jones, and I certainly don’t take him seriously but he is often hilarious. His merciless trolling of the Young Turks, when Trump won the Republican primary, was one of the funniest things I’ve seen in ages. Jones’s sidekick, Paul Joseph Watson, is even funnier. Quote:

Considering we live in age where comedians aren’t funny it’s no wonder that right-wing provocateurs like Milo Yiannopoulos and Gavin McInnes are performing to sell out crowds. Whatever their flaws, they are funny. In this light consumers are turning to alternative media figures for their entertainment… End of quote.

The right won the Great Meme War of 2016 with ridiculous ease. Journalist Tim Pool is convinced that they are winning the media war, despite the desperate efforts of the Silicon Valley establishment. Quote:

Millions of new people have been reached with messages that are forbidden by the establishment and eschewed by polite company. The growing popularity of figures like Milo can be seen as response to the left’s control of institutions. While being interviewed on Channel Ten’s Studio 10 program about why he needs to be so offensive, Milo remarked that conservatives have been polite for 30 years. That they had played by the left’s speech code and were losing. End of quote.

For 20 years, the Boomer generation ruled pop culture, until the punks rose up, and smashed it up. Now, Johnny Rotten defends Trump and supports Brexit. Morrissey is also pro-Brexit, and criticises mass immigration: “England is a memory now. The gates are flooded and…it seems to me that England was thrown away”. Quote:

It’s now been 50 years since 1968 and the start of the counterculture movement. Since that time the left has successfully taken over most of the West’s major cultural institutions and our universities have become dominated by postmodernism and critical theory. The rise of right-wing rock stars like Milo and McInnes can be understood as a part of a broader counter-countercultural revolution that’s seeking to take back institutions and return to an emphasis on celebrating Western civilisation and masculinity. This counter-countercultural revolution has been made possible through the rise of social media. In an age of social media influencers these modern day rock stars have managed to achieve more than what conservatives have achieved in the last 50 years. End of quote.

We’ve been crying now for much too long, and now we’re gonna dance to a different song.


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Who is Lushington D. Brady?

Well, a pseudonym. Obviously.

But the name Lushington Dalrymple Brady has been chosen carefully. Not only for the sum of its overall mien of seedy gentility, reminiscent perhaps of a slightly disreputable gentlemen of letters, but also for its parts, each of which borrows from the name of a Vandemonian of more-or-less fame (or notoriety) who represents some admirable quality which will hopefully animate the persona of Lushington D. Brady.

To read my previous articles click on my name in blue.

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