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Below are the 2 most recent journal entries recorded in the "Misha Verbitsky" journal:| July 23rd, 2026 | |
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| 01:33 pm [Link] |
"the greatest writer of our generation" Джим Гоуд все (суицид): https://counter-currents.com/2026/07/od Печаль. Еще https://lj.rossia.org/users/hyperion/10 https://counter-currents.com/2026/07/re https://thecritic.co.uk/the-goading-lif https://elliotpaisley.substack.com/p/a https://www.reddit.com/r/TrueAnon/comme https://www.pilleater.com/p/why-i-d https://safetypropaganda.substack.c https://x.com/mattforney/status/2079261 https://www.reddit.com/r/TrueAnon/comme https://bernardchapin.substack.com/p/ji ...For 200-odd pages, Jim took to sacred cows like oxen in Apocalypse Now. It was like hearing Napalm Death for the first time, or watching Irreversible; the fury was hypnotising. Run-on sentences of unfettered, unallowed abuse. I'd never read anything like it. I still haven't. His please-no-one attitude, in a time of tiresome please-everyone writing, was a geysey of replenishing sulphur. His cruelty, made crueller by his wit, renagade mastery of language, and unbelievable talent for turn-of-phrase, were a bolt of black lightning through my sleeping heart. For American writers, I set him next to Melville, Hemingway, and Twain. His ability to invert was second-to-none. He'd make you hate what you loved and love what you loathed. With just English, he could make a hot stack of syrupy pancakes sound as foul as medical run-off, and make the drunk skank busy getting her chunder all over the dive-bar dancefloor smell like your beloved bride on your wedding night. I didn't know you could write like that. I didn't know you could be that mean. * * * Вот тоже хорошее, про борьбу за свободу слова в 1990-е и за цензуру в 2000-е, в исполнении тех же самых людей притом. ...Much of Gen X art flirted with the symbols and aesthetics of the extreme right, but always from the safe vantage point of ironic distance. It was easy to admire that generation's commitment to freedom of expression. Now, however, one suspects that such commitment was possible only because the prosperity of the 1990s provided a buffer between politics and art, one that has long since been vaporized. This is precisely why, as I've written before, so many Gen X edgelords rushed to clarify that their right-wing flirtations had been nothing more than aesthetic gestures once the cultural values of the 1990s melted away and were replaced by those of the 2010s. The late Steve Albini devolved from one of underground American art's wittiest provocateurs into an absolutely pathetic worm of a libtard, spending much of his final years on the app formerly known as Twitter melting down over the supposed rise of the far right while publicly flagellating himself for his post-ironic racism, or whatever the infraction happened to be that week. Goad, however, never lost his edge precisely because he never wrote from a place of pure irony. His worldview was unmistakably right-wing, and he never apologized for it. That was why his writing shocked me so deeply. It was his truth, presented without protective packaging, and it compelled and changed me even as I resisted it through the liberal assumptions of my youth. I will always admire Goad precisely because he never wrote merely to provoke or shock, as Albini so often did. He wrote the truth of the world as he saw it. As far back as 1997, in his iconic book The Redneck Manifesto, Goad was already describing American liberalism as a system of profound cultural repression and hypocrisy. He argued that the liberal establishment used identity politics and cultural elitism to obscure its economic exploitation of ordinary working-class white Americans. For Goad, the "redneck" was the designated scapegoat of an elite that denounced poor white people's values as backward and toxic while ostentatiously professing its devotion to minorities, all to camouflage its extraction of wealth from the dirty hillbillies it despised. It is difficult to overstate how influential this critique would become. Nor is it surprising that Goad reemerged as an important political figure in 2016, amid the rise of the alt-right. * * * В принципе, стратегия "насрать, размазывать пальцем говно и смеяться" не интересная. "Делайте хорошо, плохо оно само получится". Гоуд не про это. Он тоже враг общества, конечно, но он по-другому. Гоуд скорее как библейские пророки, проклинает тупое быдло с высоты своего величия, и попирает ногами все ценности тупого быдла, потому что он всех ненавидит. Походу, сие было заметно еще в 1990-е, и что Альбини тупой говноед тоже было заметно, ну и все более-менее тогдашние американские знаменосцы "альтеративы" вместе с ним такие же уебища. Gavin McInnes: ...Considered by most to be the greatest writer of our generation, Jim Goad first attained fame in the 1990s as a hate-mongering asshole who was at war with the world. His zine Answer Me! predated Vice Magazine and was the impetus for VICE MEDIA's early fearless attitude. Jim has spent time in prison, fought gangs of skinheads, appeared on countless television shows, and scared the living shit out of anyone who would dare debate him. He has been an outcast everywhere he goes and after years of living in the ghetto, recently moved to a horse ranch in the middle of nowhere. Привет Current Mood: |
| January 11th, 2022 | |
| 02:55 pm [Link] |
про автора "Jew-bwa-ha-ha.gif" Я это видел, и даже, кажется, писал в этом блевничке, но гугл не находит https://www.buzzfeednews.com/article/jo про автора "Jew-bwa-ha-ha.gif," самой известной антисемитской карикатуры всех времен https://en.wikipedia.org/wiki/Nick_Boug это на самом деле Nick Bougas, знаменитый художник и лучший дружок Джима Гоуда (величайшего писателя современности, однако). По ссылке отсюда https://counter-currents.com/2022/01/ap https://twitter.com/jimgoad/status/1478 (но точно помню, что уже видел, новость-то старая). Он же (среди прочего) автор канонического изображения Андреи Дворкин, главной феминистки всех времен. Привет Current Mood: |
sad
sick