The monstrous terrorist attack on 22 March, which took place in a leisure centre in the Russian capital with a name that shows the country’s folding into the general trend of globalisation through the English language — Crocus City Hall — is the most commented event of the last few days. Politicians and analysts on all sides are looking for the perpetrators of this asymmetric/hybrid act of war, trying to estimate its consequences and predictably positioning themselves as Putin’s admirers and advocates or his irreconcilable enemies. However, I would like to look at this subject from a different perspective. Namely, this is from the perspective of the methodical subversion exercised for at least a century, which aims to dissolve all forms of collective identity through the social engineering known as ‘modern music’ and, more broadly, mass culture.
Suffice it to recall the very special role that the Tavistock Institute of Human Relations has played in the development of these strategies of mental and behavioural control. We leave aside here modern art as a whole, from visual art to architecture, theatre and cinema, and make just a few remarks about modern anti-music. Its nefarious role is hard to overestimate.
Jazz, blues, rock and roll, hard rock, heavy metal, hip hop or rap etc., etc. are just a few variations of the more or less rhythmic and traumatic noise that has spread over the whole world like a deadly plague that dissolves all tradition, annihilates all religion, dynamites all moral codes and pulverises all culture built up over millennia of human civilisation. This weapon of mass has penetrated deeply everywhere in the world thanks to modern technologies. It is ‘mass culture’ that is killing both popular and classical culture. It is part of the general plan to standardise/homogenise all human collectivities, representing a huge force of psychological domination and mind control.
The Society of the Spectacle — political, cultural or sporting — is no longer able to look back to see what trap it has fallen into, or even to regret its own dissolution in the melting pot of globalisation. Therefore, all those who join the anti-globalist camp should distance themselves from mass culture and fight for a return to tradition. But today’s man can no longer understand WHERE, WHEN and HOW the historical fracture occurred that has thrown humanity off its natural course.
The New World Order is on the offensive throughout the world not only by imposing a single universal social-political model (republic, democracy, popular sovereignty), a single universal economic model (liberal-capitalist), but also a single model of leisure (an absurdity in traditional society!), tourism, sport and entertainment.
A world government requires the establishment of a world state, a world economy, a world financial system (CBDC), a world police force, a world army, and a world health system (WHO). But for all this to be imposed more easily, the masses must be precultured according to a single recipe of collective cretinisation through what is believed to be modern music, which, in fact, is the antithesis of euphony, harmony, and beauty.
The aesthetic of Ugliness triumphed everywhere. This phenomenon characteristic of ‘mass society’ is accompanied by moral depravity, promiscuity, and the breakdown of relations between generations, serving as the most effective narcotic that anaesthetises any higher aspiration, any intellectual elevation, any patriotic impulse and any trace of religious conscience. In recent decades, the pace and scale of the mass imbecilisation strategy known as Sex, Drugs, Rock & Roll has become even more successful. In addition to electricity (the minimum condition for the spread of mass culture), radio and TV, the internet has emerged.
This deadly poison that turns crowds of people into subhuman herds has affected Russia as catastrophically as the rest of the world. And the ‘political elites’ are no more elevated than the common people. The total and irreconcilable war between the collective West and Russia has done little to detoxify this country from the poison of mass culture originating in the West.
So, where did the terrorist attack take place on the evening of 22 March? In a leisure centre which has nothing to do with Russian language and culture: Crocus City Hall. In fact, the whole of mass culture on a global scale is being poured out through a surrogate English language that has become the language of globalisation.
What prompted thousands of Russians to gather in that Moscow concert hall on that fateful evening? The popular Russian rock band Piknik. But it has been known for at least half a century that this kind of alleged music is satanically inspired. And this is not a figure of speech or an exaggeration, but a reality confessed by the very stars of this demonic practice, who admitted their pact with the devil in exchange for popularity and wealth. What are such practices of mass demonisation doing in a country that claims to oppose the degraded, perverted and evil West? And doesn’t the combination of the words ‘Russian rock’ sound like an oxymoron, a contradiction in terms, a logical absurdity? It is enough to glance at a few photos of this group of hypnotic, trance-like, drunken sound shrill producers and the textures they bellow from the stage to understand how much cultural elevation and aesthetic elegance these black-clad, macabre monsters exude, with sunglasses to hide their unhuman eyes.
Putin’s favorite SHAMAN, symbol of cultural degeneration
It will be recalled that thousands of people gathered for that concert as well as for shopping in the same leisure complex on the Friday of the first week of Lent or the Resurrection of the Saviour of the world, Jesus Christ. It is a period in which Orthodox Christians abstain from any parties and entertainment events, focusing on prayer, humility and reading religious books. Every evening of the first week of this period of the liturgical year, divine services are held with a special sobriety and significance. The people present on the fateful evening of Friday, 22 March, preferred to go to the concert and shopping, not to church.
I perfectly understand that such an approach could deeply outrage people who believe more in the religion of human rights and unlimited freedom than in God. Nor do I intend to advocate religious belief. I merely wish to note that Russia has lost the religious, spiritual, and cultural war by capitulating to Western mass culture. The globalists’ non-military warfare strategies have proven more effective than military ones on the battlefield in Ukraine.
The patriotic duet Putin — SHAMAN
To exemplify how strongly mass culture has affected Russia, it is enough to recall the embarrassing duet of Russian President Vladimir Putin and the pop star with the intentionally transliterated English name SHAMAN. It happened on the evening of 22 September 2022 in Red Square when the Kremlin declared the official inclusion in its Russian statehood of four Ukrainian regions: Donetsk, Kherson, Luhansk and Zaporizhzhia. Let’s leave aside the fact that Russia has not yet managed to take control of these territories. And let’s agree that even if the two singers were singing the Russian anthem, that association does not lend credence to the claim to represent an alternative civilisation to the decadent West.
But what is no less surprising is the fact that during the two years of the Special Military Operation in Russia, the shows with mass culture monsters, cultural events, entertainment in nightclubs and discos never stopped for a day. If this is not simply ignorance of non-military warfare, then the only explanation is that Russia’s rulers tolerate this continuous entertainment as a form of keeping the masses in a state of lethargy. Otherwise, the youth of this country might be politically awakened.
By the way, even the tragic event of 22 March did not change the cultural agenda in Russia. The patriotic Telegram channel ‘Katjusha’ has published right now the following news:
Aliona Shvets, a star of ‘Russian’ mass culture
The degradation has no limits! The country is in mourning after a terrorist attack that killed over a hundred people; the enemy is shelling Belgorod and Sevastopol; Orthodox Christians are having a great fast, and in Rostov they are preparing a concert of paederast propagandist Alena Shvets, who also confesses her love for ‘Ukraine’. Specially for the authorities of the Rostov region: the movement of sexual perverts is recognised as extremist in Russia.
