Can the Abomination of Balenciaga Heal the Culture?
Our Arts have become Satanic
I had the distinct unpleasure this week of watching Prime TV’s new mystery series, Three Pines, set in the village I grew up in, Knowlton, Quebec, where the author now lives and the geography within which she sets her series. I have a rule of not watching anything violent (except Yellowstone) but to catch a glimpse of the village I ranged through as a kid, I sucked it up.
Of course, I was immediately insulted, as the first scene had a white-blond beefy Anglo (Nazi Alert!) cop in Quebec City (an Anglo cop in Quebec City is vanishingly rare) beating up an Indian woman. The thing marched on, hitting every nasty leftie trope, through an increasing ugly physical landscape. The writer, Louise Penny, is very successful, top of the NYTimes bestseller list with every book and much loved by women of a certain age. Penny’s work is a look inside their heads. Hillary Clinton and she are friends, ‘nuff said.
The show is like a beautiful painting over which an angry adolescent has thrown red and black paint in order to “show reality”. A friend who who lives across the street from Penny’s palatial residence states that, contra her reality, there has been one murder in the village in the last 80 years and that was an argument over a pig.
Penny has populated my village with killers, bigots, madmen and women, noble Indians, and noble artistes who wrestle with evil normals, all of whom are unhappy because they are so unethical, bigoted, homophobic and racist. There is also a former residential school in situ, which there was not. There are literally no children in the show. No children, no families. (Penny is childless like most of her generation of Canadian artists) Just noble artistes, hard-done-by-noble Indians and noble French policemen.
Oh wait, there is one 12 year old. She murders her mother.
An unrelated thematic undercurrent about Canada’s maltreatment of its native peoples clubs the viewer, so of course that gives Penny permission to trash the culture she exploits. There is, apparently, no wound that she will not scrape at, making it bigger, more dramatic, more focused on her hatred for white Anglo men.
And women. The villain, like all her villains, is a sick, entitled, white woman. Basically Penny loathes rich white people of any sex, while living a lush life in the place they created. Because Knowlton was the summer and weekend place of Canada’s then corporate elite. A village of 500 bulked out to 1500, as the interlocking network of the people who built the infrastructure of modern Canada came to summer. Penny profits off the product of bitterly hard generational labor, while trashing it. Which is a metaphor for our arts.
I went to the local school for seven years so was friends with both parts of the community. My father was on every committee in the village, and he and his fellows made sure there was not one fallen sparrow in the region. The only way anyone fell out of the network of care that used to exist in every small town in Canada and the US, was through alcoholism. Aside from crime caused by that sickness, there was virtually none. And for the fallen, there were halfway houses and treatment. Unlike Penny’s implication of hate and neglect, Indians in the area were, to the extent they allowed, helped, funded, cared for. Like almost every early settler family, my father’s family had married into two Indian tribes, and in the case of my father, given his cousinage, were understood.
Because that’s what Christians do, and at the time, everyone was Christian.
That job now falls to bureaucrats who, like Penny, see everyone as unreconstructed bigots, walking beasts capable of sudden mayhem, and treats them accordingly. The village, if my eyes are telling me true, is no longer beautiful. At least the filmmakers don’t see any beauty in it. Setting it there, like Penny, they hope to capitalize on the mythical small town’s history as a place where happiness and safety were possible. And then they can destroy its memory as a place where goodness reigned.
What does this have to do with Balenciaga?
The end result of Penny’s “thinking” is Balenciaga. Like Penny, the stylists and designers in Paris have have given themselves permission to destroy the culture because of past cruelties. Much of the fashion world is ‘other-sexed’, so it’s not hard for them to find the energy of resentment and hatred. The woman largely responsible for the images that horrified the known universe, Lotte Volkova, is a Russian who claims she grew up near Chernobyl and with child sexual abuse. Degraded cultures like Soviet Russia engage in child rape so I can see what her childhood may have been.
Like Penny, Volkova and her crew, and indeed our entire culture, including film, go to the darkest side they can find because their inspiration is rage. And as Michael Walsh says in The Fiery Angel, Art, Culture, Sex, Politics and the Struggle for the Soul of the West, the most significant analysis of our failing culture, rage “is the salient characteristic of Satan and of the Satanic in men.”
Because we have given our artists so much respect, money, fame in the past forty years, if the Satanic can get attention, well fine, they will go there.
Everything Balenciaga produces, the gimp mask, the bondage gear worn by the increasingly nauseating Kardashian woman, is about death, it’s all about hurting and killing the most vulnerable in us.
And that is what our culture has become. A death culture.
The Satanic impulse goes deeper than clothes and disturbing images and it is not limited to Paris or LA. It has percolated through what we laughingly call our elites, who are, it turns out as disgusting and degraded as any in historical memory. Pedophilia is practiced throughout their world: it is the sick darkness by which they trade and recognize each other. It is the admission slip to the heights of power. It is who they are, and what they do.
While celebrities, including those dressed by this crew of demons, are vigorously ignoring this mess, the real world isn’t.
On Tiktok and Instagram, not-journalists are digging. Everyone of every sex and race is on fire. Up and down the social scale - from housewives in Birmingham, England to elevated Black fashion photographers to the many many women who work on the fringes of entertainment - they are finding and passing around photographic evidence of just how deep this sickness is buried. All of these people have children. And all of them are saying, this is the line we will not cross.
Since our media is largely propaganda, they are doing the work an honest media would have done a decade ago. They are doing the work the FBI is not permitted to do.
They trace the abomination of Balenciaga through Epstein and the entertainment industry, through the ancient families of Europe, through the Rothschilds and the LA Chandlers – owners of the LA Times - via the vicious madam Ghislaine Maxwell, the Royal Family, not forgetting the thousands and thousands of missing women who Epstein abused. Five girls a day for twenty years. Nicole Kidman, who appears in Balenciaga ads is part of it, her father was a known child sexual predator who killed himself because he was caught. Every tiny piece of evidence is being fitted into the puzzle. Bella Hadid, whose mother pimped her out on yachts on the Med in the summer was in the Balenciaga ads too.
Piece by piece by piece, they are pulling out the pimp perpetrators, like an heiress to the Chandler money, one of Epstein’s early victims, who became an Alpha abuser opening an ad agency for discarded kids, and finding her photographed with predator politicians and businessmen and actors. They connect the Bronfman girls who funded the NXIVM predator with Chandler, the Guinesses, the Rothschilds.
I’ll leave you with some of the images on their Investigation Boards, their Link Charts, the kind of evidence marshalled when digging into organized crime or large conspiracies or collusions. It remains to be seen how far they will go, but it has to worry any of the perpetrators that they are known, that millions of people loathe them, are disgusted by them, and will spend every moment they can investigating them in order to bring them down.
The arts and artists have been given a place in the center of our culture, and they have abused that position. They deserve to lose it.
Some of this is disturbing. The worst images are pulled from the Instagram account of the stylists of Balenciaga.
Of course the Podestas are involved:
There are thousands of images like this being dug out and exposed. All of them are as appalling as the people who created them.
The sins of the past argument is moot. Name one country or civilization who's people have not committed atrocities. This is resentment, 'social justice' is merely a veil to cover the god shaped hole as we spiral deeper and deeper into the seedy cellars of a velvet underground nightmare.
Our ramparts were sovereignty and religion. They tried dressing up as grandmother but those of us with eyes couldn't help but notice 'what big teeth she had'. They slowly eroded our culture and now they have breached the perimeter. The devil reveals itself on entry.
As Douglas Murray once said "One of the dangers of of resentment is they'll achieve their ultimate form of revenge, which is to turn happy people into unhappy people like themselves, to shove their misery in the faces of the happy so in due course the happy start to be ashamed of their happiness and perhaps say to one another, 'it's a disgrace to be happy, there is too much misery.' For the sick must not make the healthy sick too or make the healthy confuse themselves with the sick."
This is an absolutely stunning essay - thank you. We need to ensure visibility into these abominations. The more people are aware, the more they will step back and say NO. The buck stops here. Bravo Elizabeth 👏🏻👏🏻👏🏻