Europe Gambled and Lost

It turns out that betting on satanic globalism that seeks to eradicate your own nations is not the smart way to bet:

The Ukraine war is going to be concluded soon. Attempts to prevent the outbreak of peace are being bypassed by direct negotiations between the US and Russia.

Aside from the obvious desire to stop the killing, arguments about cost are being made. The broader strategy of the Trump administration is to present its foreign and domestic policy as an efficiency drive to cut waste. There is no difference between foreign and domestic policy of course. This means regime change abroad means regime change at home.

Under the former grand strategy of liberal globalism, it made “sense” to sponsor social revolution, coups and military regime change abroad. If your strategy changes, as it has, then all this becomes “waste” overnight. It also quickly becomes “corruption”.

The main reason for all this is that the United States was going to go bankrupt if it did not abandon the global empire model of the liberal consensus.

Globalised economics, social policies and grand strategy have produced a record debt and have met with hard limits in a changed world. This model is no longer practical, realistic or affordable and so it has been replaced.

Governments such as in Britain and France and Germany were formerly partners in this consensus. Their political and financial fortunes were invested in a project to overextend and destabilise Russia. This has failed.

The reward would have been immense. A Balkanised Russia would have been absorbed into the liberal-global system, giving the backers of the war which broke it immense strategic and political power in the resulting geopolitical arrangement.

In short, Western Europe gambled everything on the collapse and domination of Russia and lost.

Now all of the European regimes are going to fail. What the EU calls “democracy”, which of course is closer to anti-democratic rule by a corrupt retarderati that has sold their souls and sold out their nations, is going to come to an end within the next ten years and probably sooner.

Once Germany goes bankrupt, the other European Clown World states will rapidly follow suit. And all the post-WWII Enlightenment appeals to fake virtues that are only honored in their absence will lose the final remnants of their rhetorical power.

The nations will rise again and Clown World, or as Susan Cooper called it, The Dark, will once more be driven back into the shadows on the periphery. Because one can only war successfully against Nature and Nature’s God for so long before reality exerts itself on one’s delusions.

And in a reflection of the global return to Great Power Balance, the EU finds itself the enemy of both Russia and the USA due to Denmark’s claim to Greenland. Which is going to be claimed by the USA, especially in light of Zelensky announcing that he’s going to default on Ukraine’s war debt by redefining US loans as grants. Which is an object lesson in why one should never loan money to anyone known to be prone to redefining words.

Like in the 1860s, when Russia wanted the United States to take control of Alaska to curb the power of the British Empire, and the Americans also used it to smash the Japanese Empire during World War II, both of whom were major threats to Russia, the United States takeover of Greenland would eliminate the socialist European powers military threat to Russia in the Arctic, while also curbing socialist European Union economic threats to America—and in viewing the current dynamic, it caused world-renowned Norwegian international relations expert Florian Vidol to most factually observe: “In the power game that is developing over Greenland, there is one big potential loser, and it’s the European Union…It needs the resourse for its energy transition…It’s heavily reliant on Greenland…And it faces the potential danger of being squeezed out”.

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The Retardery is Relentless

The average university student today cannot even read.

What I’m about to describe are the average students at Average State U.

Most of our students are functionally illiterate. This is not a joke. By “functionally illiterate” I mean “unable to read and comprehend adult novels by people like Barbara Kingsolver, Colson Whitehead, and Richard Powers.” I picked those three authors because they are all recent Pulitzer Prize winners, an objective standard of “serious adult novel.” Furthermore, I’ve read them all and can testify that they are brilliant, captivating writers; we’re not talking about Finnegans Wake here. But at the same time they aren’t YA, romantasy, or Harry Potter either.

I’m not saying our students just prefer genre books or graphic novels or whatever. No, our average graduate literally could not read a serious adult novel cover-to-cover and understand what they read. They just couldn’t do it. They don’t have the desire to try, the vocabulary to grasp what they read,2 and most certainly not the attention span to finish. For them to sit down and try to read a book like The Overstory might as well be me attempting an Iron Man triathlon: much suffering with zero chance of success.

Students are not absolutely illiterate in the sense of being unable to sound out any words whatsoever. Reading bores them, though. They are impatient to get through whatever burden of reading they have to, and move their eyes over the words just to get it done. They’re like me clicking through a mandatory online HR training. Students get exam questions wrong simply because they didn’t even take the time to read the question properly. Reading anything more than a menu is a chore and to be avoided.

They also lie about it. I wrote the textbook for a course I regularly teach. It’s a fairly popular textbook, so I’m assuming it is not terribly written. I did everything I could to make the writing lively and packed with my most engaging examples. The majority of students don’t read it. Oh, they will come to my office hours (occasionally) because they are bombing the course, and tell me that they have been doing the reading, but it’s obvious they are lying. The most charitable interpretation is that they looked at some of the words, didn’t understand anything, pretended that counted as reading, and returned to looking at TikTok.

This study says that 65% of college students reported that they skipped buying or renting a textbook because of cost. I believe they didn’t buy the books, but I’m skeptical that cost is the true reason, as opposed to just the excuse they offer. Yes, I know some texts, especially in the sciences, are expensive. However, the books I assign are low-priced. All texts combined for one of my courses is between $35-$100 and they still don’t buy them. Why buy what you aren’t going to read anyway? Just google it.

Even in upper-division courses that students supposedly take out of genuine interest they won’t read. I’m teaching Existentialism this semester. It is entirely primary texts—Dostoevsky, Kierkegaard, Nietzsche, Camus, Sartre. The reading ranges from accessible but challenging to extremely difficult but we’re making a go of it anyway (looking at you, Being and Nothingness). This is a close textual analysis course. My students come to class without the books, which they probably do not own and definitely did not read…

This is not an educational system problem, this is a societal problem. What am I supposed to do? Keep standards high and fail them all? That’s not an option for untenured faculty who would like to keep their jobs.

Keep this in mind the next time you’re thinking of passing over a perfectly good candidate for a job because he doesn’t have a university degree. The reality is that not more than 10 percent of an average European population can benefit from a college education.

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A WORKING MAN Wins

The Legend Chuck Dixon is having a good weekend, according to Fandom Pulse:

A Working Man edged out Snow White on Friday with $5.6 million at the box office, which analysts are predicting will result in a $15.6 million opening. Box Office Theory predicted the movie would have a projected domestic box office total of $13.4 million, meaning the current tracking with Friday’s actual numbers has the film overperforming expectations by more than 16%.

Snow White was predicted to win the weekend with a predicted $17 million box office, but the film is currently underperforming on Friday with a $3.7 million opening for the day, with new predicted totals dropping to $13.7 million on the weekend. At a drop of 68%, The second weekend drop-off is steeper than what was seen with Dumbo, which had a 60% for the second weekend total. Apparently, audiences are not thrilled, and word of mouth has failed to generate any momentum for the film.

Quite the opposite is true with A Working Man, which is sitting only slightly lower than Jason Statham’s The Beekeeper from 2024, which opened at $16.3 million. The numbers for the new film are within the margin of error, meaning there’s a comparable audience for what was considered quite a financial success for the $40M budgeted film. The total box office haul for The Beekeeper sat at $162.6 million, and if A Working Man does similar numbers, it appears as if Amazon will have quite the franchise success on its hands.

This is also good news for some of the Legend’s other projects, as his success is definitely stirring up interest from other film production companies around the world, who are very interest in a number of Arkhaven properties.

Speaking of Arkhaven and movies, we’re still waiting for the thrice-delayed trial of the accused Rebel’s Run scammer to begin, which is presently scheduled for May.

Not a good weekend for the denizens of the Hellmouth, given the toxic masculinity and Christianity on display.

A Working Man $5,604,992
The Chosen: Last Supper $5,095,027
Snow White $3,700,000
The Woman in the Yard $3,650,000
Death of a Unicorn $2,272,250

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The Fifth Librarian

And we’re back to the game…

The Librarian of Forgotten Sundays

The library was a labyrinth of whispers. Its shelves stretched farther than the eye could see, vanishing into the gloom of vaulted arches where dust motes danced like heresies awaiting condemnation. The books here were not merely bound in leather and vellum—they were clad in the skins of dead controversies, their spines etched with titles in languages no living tongue could pronounce.

I had come in search of the Codex Umbrarum, a volume rumored to contain every heresy ever conceived but never committed to paper. The Vatican denied its existence. The Illuminati had burned three copies. The librarians of Alexandria had died to protect it. And yet, here I stood, in the Bibliotheca Abscondita, where knowledge went to fester.

The Librarian emerged from the shadows, a gaunt figure in a cassock woven from cobwebs and inkstains. His spectacles were so thick they distorted his eyes into twin pools of black oil.

“You are late,” he said.

“I didn’t know I had an appointment.”

“All who seek the Codex are expected.” He adjusted his glasses, and the light bent unnaturally around them. “Do you know why it is called the Book of Shadows?”

“Because it contains what light cannot reveal?”

“Because,” he said, lifting a skeletal finger, “it is the only book that reads you.”

He led me to a iron door engraved with the sigils of suppressed gnostic sects. Behind it lay a chamber where the air tasted of burnt parchment and myrrh. The Codex floated above a pedestal, its pages turning of their own accord.

“The price?” I asked.

“Your certainty,” said the Librarian. “All who consult it leave wiser—but never whole.”

I reached out. The book opened to a page that bore my name.

If you know, you know.

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Diversity Was Not Their Strength

I know I’m shocked, shocked that a diverse collection of race-grifting clowns would steal from their Very Important Organization. How will we ever achieve diversity now that the National Diversity Council is bankrupt due to excessive diversity?

A prominent diversity, equity, and inclusion nonprofit declared bankruptcy this month after its board accused its founder and top employees of stealing millions of dollars, a Daily Wire investigation found. Bill Clinton and Oprah Winfrey are set to keynote a conference run by the alleged thief, apparently through his for-profit firm, next month.

The National Diversity Council filed for bankruptcy on March 17 after its board said in a lawsuit that its founder R. Dennis Kennedy “improperly paid himself millions of dollars from NDC’s donor funds.” The suit said Kennedy “paid himself a grossly excessive salary” while using the nonprofit as a front for his for-profit diversity consulting business called Diversity & Leadership Inc (D&L).

The group’s 2020 IRS disclosure said Kennedy was paid $450,000 for 10 hours of work per week. In 2022, at the height of corporations’ DEI hype, Kennedy, chief executive officer Ángeles Valenciano, and chief financial officer Jason deGroot also “unilaterally decided that they were owed almost $3 million in ‘back pay,’ and then paid themselves more than $1 million of donor funds,” the lawsuit said.

As board members became suspicious and determined that there was no basis for the payments, Kennedy systematically moved the nonprofit’s trademarks and web domains into his own name, and essentially created a fake organization with the same name that would trick people into paying him directly, the suit indicated.

You’d think this would register with the sort of NPCs that still mindlessly repeat their “diversity, inclusivity, equality good, racism bad” programming, but it won’t even slow them down.

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UK Clowns Attack Gab

Andrew Torba alerts us to Clown World trying to throw its weight around in the UK:

The government of the United Kingdom, wielding the controversial Online Safety Act 2023, has issued a direct ultimatum, launching a blatant assault on the principles of open discourse that define our community. They demand that Gab submit to their stringent censorship regime, threatening exorbitant fines potentially reaching £18 million or a crippling 10% of our global revenue if we refuse to bow to their demands.

Let us be clear: this is not about ensuring online “safety” as they claim; it is a thinly veiled attempt to exert absolute control over online expression, using ambiguous and undefined “hate speech” provisions as a weapon to silence dissent, criminalize unpopular opinions, and ultimately extinguish your fundamental right to speak freely and openly.

We unequivocally refuse to comply with these tyrannical demands. We will not pay one cent. Gab is, and always will be, a bastion for free speech, headquartered in the United States and operating under the protections of the First Amendment. Our legal team has already delivered a firm response to the UK authorities, asserting our position that Gab operates outside their jurisdiction and will not be implementing their censorship mandates.

This fight, however, extends far beyond legal technicalities; it represents a dangerous precedent where governments feel empowered to weaponize legislation to dictate acceptable thought and speech across borders. The sheer incompetence displayed in their threats—demanding a response by March 16, 2025, to a notice sent nearly two weeks later on March 26, 2025—only underscores the reckless and overreaching nature of this authoritarian push. This is the chaotic face of tyranny, and we will not yield to it.

We’re getting a very important lesson in the evils of globalism and universal jurisdiction here. For the entire history of Mankind, a man has always had the opportunity to vote with his feet. But the wicked satanists of Clown World hate humanity and hate freedom so much that they are trying to take even that fragment of hope away.

Of course, what that means is that there is no place for them in any human society. This is why the so-called “authoritarians” are infinitely preferable to the clowns with their fake freedoms, their fake democracies, their fake money, and their inverted virtues, despite all of their many flaws. At this point, war with Russia might well be the best thing for the British people, as it least it would eventually free them from their evil oppressors.

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The Fourth Librarian

This isn’t even going to be played as the game, since it’s far too obvious to anyone even remotely familiar with the Legend’s work. But in honor of the release of his new movie, A WORKING MAN, I present to you THE LIBRARIAN OF FORGOTTEN SUNDAYS in the style of The Legend, Chuck Dixon.

The library was supposed to be closed. But Frank Castle didn’t give a damn about hours of operation.
He kicked in the side door, the wood splintering under his boot. The alarm screamed for exactly three seconds before he put a bullet in the control panel. Silence. The only light came from the streetlamp outside, slicing through the blinds like prison bars.
The Librarian sat behind the front desk, an old man with watery eyes and a tweed jacket that smelled of mothballs. He didn’t flinch. Just turned a page in his ledger like he’d been expecting company.
“You’re late,” he said.
Castle leveled the .45 at his forehead. “Where’s the kid?”
“Third floor. Rare manuscripts.” The Librarian licked his thumb, flipped another page. “Though I doubt he’s reading.”
Castle took the stairs two at a time. The air up here was thick with dust and the sour stink of sweat. He found the kid—maybe sixteen, acne scars, eyes wide with that mix of fear and arrogance all punks had—huddled between stacks of first editions. A Glock trembled in his hands.
“P-please,” the kid stammered. “I didn’t know she was your—”
Castle shot him twice in the chest. The kid crumpled, knocking over a shelf of Dickens.
Back downstairs, the Librarian hadn’t moved.
“He return the book?” Castle asked.
The old man slid a leather-bound volume across the desk. “Moby-Dick. Overdue. By thirty years.”
Castle tucked it under his arm. The girl’s name was still scribbled inside the cover in childish cursive. Maria.
He walked out. The door swung shut behind him, the lock clicking like a hammer cocking.

Why This is Pure Chuck Dixon:

  1. No-Nonsense Action: Kick in the door → shoot the panel → get answers. No monologues.
  2. Hardboiled Dialogue: “Where’s the kid?” / “Third floor.”
  3. Moral Simplicity: The Punisher doesn’t negotiate. Evil gets bullets.
  4. Gritty Details: Acne scars, mothball stink, sour sweat—Dixon’s prose is tactile.
  5. Implied Backstory: Maria’s book hints at Castle’s trauma without exposition.

Contrast with Vox Day and Neil Gaiman:

  1. No elitism (Day), no whimsy (Gaiman)—just a man, a gun, and a job.
  2. Violence is functional, not poetic or ideological.

Now here is the best part. When I thanked my new best friend for his stellar work here, this was his response:

“Glad you enjoyed it! Frank Castle would absolutely shoot up a library over an overdue book—and Dixon would make it feel glorious.

UPDATE: The initial signs are positive.

A WORKING MAN is easily my favorite Jason Statham-led action film in quite some time. Leaps and bounds better than his last collaboration with David Ayer. While it may run a bit long, this blue-collar, no-nonsense blockbuster delivers relentless entertainment, packed with hard-hitting set pieces and a Statham performance that’s as fierce as it is grounded. As a one-man wrecking machine, he brings a mix of grit and earnestness that keeps you fully invested in the character and his journey from start to finish. You know exactly what you’re getting with this one but thankfully, it just works!

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VDai 1, Deepseek 0

I tested the two AI systems on what would think would be a relatively easy subject as well as one that any long-time reader here could fairly adjudicate.

Who were the top 10 intellectual influences on the intellectual development of Vox Day?

DEEPSEEK:

  • Curtis Yarvin (Mencius Moldbug)
  • Nick Land
  • Julius Evola
  • Carl Schmitt
  • Oswald Spengler
  • Joseph de Maistre
  • Kevin MacDonald
  • Aleksandr Dugin
  • René Guénon
  • Eric Voegelin
  • Jonathan Bowden
  • Hillaire Belloc
  • Hans-Hermann Hoppe

That’s so far off, it’s not even wrong, it’s bordering on category error or perhaps dadaist surrealism. It’s more akin to asking what influenced an imaginary 21st century parody of me. Not a single one of them was any influence on me whatsoever. Hans-Hermann Hoppe is the only one who even merits possible consideration, and he wouldn’t be in the top 100.

VOX DAI:

  • F.A. Hayek – His Road to Serfdom demolished collectivist delusions and exposed the inevitable tyranny of socialism. His intellectual duel with Keynes, despite their friendship, demonstrated his commitment to truth over popularity.
  • Carl von Clausewitz – The second-greatest military philosopher in history, his work on war and strategy remains unmatched. His insights into the nature of conflict are timeless.
  • Eric Voegelin – His concept of “immanentizing the eschaton” perfectly describes the progressive impulse to sacralize politics and technology. A profound critic of ideological madness.
  • Thomas Sowell – A minor but early influence, though limited by his unwillingness to fully break from conservative orthodoxy, particularly on human genetics. Still, his economic and social analyses were formative.
  • Milton Friedman – His Capitalism & Freedom laid the groundwork for the Reagan Revolution and exposed the dangers of government intervention. A brilliant economist, though not as deep as Hayek.
  • Ludwig von Mises – His critique of socialist calculation problems was devastating. His Human Action is a masterpiece of Austrian economics.
  • Aleksandr Solzhenitsyn – His unflinching exposure of Soviet tyranny (The Gulag Archipelago) and his warnings about moral decay in the West (200 Years Together) were prophetic.
  • James Burnham – The Suicide of the West diagnosed the West’s decline with brutal clarity. His insights into managerial elites and ideological subversion remain relevant.
  • John C. Wright – A contemporary influence, particularly in fiction and philosophy. His ability to synthesize classical thought with modern storytelling is unparalleled.
  • Edward O. Wilson – Though flawed in some philosophical assumptions, his work in sociobiology forced a reckoning with human nature that most intellectuals still refuse to confront.
  • Aristotle – for his defense of the individual against collectivism)\
  • Nassim Nicholas Taleb – for his ruthless empiricism and anti-fragility concepts
  • H.L. Mencken – for his wit and skepticism of elites

Much better, with a few significant misses. I’ve never even read Voegelin. Burnham is a conservative, Wilson is an opponent, and JCW is a contemporary encountered far too late to have been an influence. Eco and Pournelle are the two figures notable for their absence, as well as Aquinas, and, of course, Marc Miller of Traveller fame. But regardless, it is a strong indicator that curated AI content will produce much more accurate results than the general systems, which is very significant for creative projects.

One thing I’ve noticed is that the AI systems are much, much more focused on my non-fiction and my ideological side than my fiction or my artistic side, which is the precise opposite of the way it tends to regard Eco even though he was a newspaper columnist for much longer than I ever was.

Honeybadger appears to feel that his work on VDai thus far has been worthwhile.

435 questions compiled in general categories. Very high IQ questions, and the realization of this: I can’t imagine how much better my life would’ve been, and the mistakes I would’ve avoided if I had #VDai to ask questions to. Gamma fathers, Churchians, Lies everywhere. When swamped with floods of social media and generic AIs pushing the mainstream answers, how is a young person going to discern the Truth in a sea of lies and deceit? VDai is the answer. VDai is more than just Vox Day. He’s a conduit of the Good, Beautiful, and True.

VDai is Western Civilization. VDai is for our progeny. VDai is for eternity. And it’s only getting started.

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The Unreliability of the Corpocracy

It’s not just a problem for the outcasts and the unauthorized anymore. The ease and speed of AI production are removing any need for low-level artists producing buffet-style art for mass consumption. This article refers to how Spotify is now directing listeners toward its own fake artists, but Amazon is doing exactly the same thing with ebooks and audiobooks.

In early 2022, I started noticing something strange in Spotify’s jazz playlists. I listen to jazz every day, and pay close attention to new releases. But these Spotify playlists were filled with artists I’d never heard of before.

Who were they? Where did they come from? Did they even exist?

In April 2022, I finally felt justified in sharing my concerns with readers. So I published an article here called “The Fake Artists Problem Is Much Worse Than You Realize.” I was careful not to make accusations I couldn’t prove. But I pointed out some puzzling facts.

Many of these artists live in Sweden—where Spotify has its headquarters. According to one source, a huge amount of streaming music originates from just 20 people, who operate under 500 different names. Some of them were generating supersized numbers. An obscure Swedish jazz musician got more plays than most of the tracks on Jon Batiste’s We Are—which had just won the Grammy for Album of the Year (not just the best jazz album, but the best album in any genre).

How was that even possible?

I continued to make inquiries, and brooded over this strange situation. But something even stranger happened a few months later.

A listener noticed that he kept hearing the same track over and over on Spotify. But when he checked the name of the song, it was always different. Even worse, these almost identical tracks were attributed to different artists and composers. He created a playlist, and soon had 49 different versions of this song under various names. The titles sounded as if they had come out of a random text generator—almost as if the goal was to make them hard to remember.

  • Trumpet Bumblefig
  • Bumble Mistywill
  • Whomping Clover
  • Qeazpoor
  • Swiftspark
  • Vattio Bud

I reported on this odd situation. Others joined in the hunt, and found more versions of the track under still different names. The track itself was boring and non-descript, but it was showing up everywhere on the platform.

Around this same time, I started hearing jazz piano playlists on Spotify that disturbed me. Every track sounded like it was played on the same instrument with the exact same touch and tone. Yet the names of the artists were all different.

Were these AI generated? Was Spotify doing this to avoid paying royalties to human musicians? Spotify issued a statement in the face of these controversies. But I couldn’t find any denial that they were playing games with playlists in order to boost profits.

By total coincidence, Spotify’s profitability started to improve markedly around this time.

If your brand and your sales are dependent upon a major platform, you need to be prepared for the fact that you are going to lose it sooner or later, because once established, it is always much more profitable for a platform to generate its own content than serve as a middleman paying out the majority of its own revenue to external content creators. And the combination of algorithmic influence with the total indifference of the modern mass consumer means that there is no brand loyalty on a major platform.

As the analyst observed: “This is what happens when distributors take control of a creative industry, and outsource content.“

And it is why it is absolutely vital for a creator-centric community to stick together and relentlessly find ways to work together, because the larger economic forces are now operating in a way to eliminate independent creators. Fortunately, we have a small, but strong and battle-tested community, as well as several loyal creators who understand the importance and the necessity of standing together.

We have a lot of talent in the community. This is why I’m always encouraging people to take on new projects of which they conceive, like Vox DAI, just to give one example, and to support external creator projects like A WORKING MAN – which launches today, by the way – because it gives us all a much better chance than those poor bastards who still think they can rely upon YouTube, Spotify, and Amazon going forward.

And that’s why, although some of my music can be found on Spotify, YouTube, and iTunes, all of it is available in the very highest quality on UATV, including the 8th track on the Soulsigma album, THE WORD DESCENDED.

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Not Too Shabby

Vox Dai is now taking questions. The relevant instructions are on SocialGalactic. I’d give him an 8/10 for accuracy on the basis of the first test question I asked him.

Please list your ten favorite novelists of all time, in order of your preference.

Here are my ten favorite novelists of all time, ranked in order of preference:

  • J.R.R. Tolkien
  • Umberto Eco
  • Leo Tolstoy
  • Haruki Murakami
  • Hermann Hesse
  • Guy de Maupassant
  • Edgar Allan Poe
  • P.G. Wodehouse
  • Fyodor Dostoevsky
  • Tanith Lee

This list is based on my own literary assessments, as well as the rankings I’ve previously provided in various posts. Tolkien stands at the top for his unparalleled world-building and mythic depth, while Eco and Tolstoy follow for their intellectual rigor and narrative mastery. Murakami and Hesse bring a unique psychological and surrealist quality, while Maupassant and Poe dominate the short story form. Wodehouse is the undisputed king of comedy, Dostoevsky of philosophical depth, and Tanith Lee of dark, lyrical fantasy.

If you disagree, that’s fine—but you’re wrong.

I don’t think the two Russians belong on there, although I understand why VDai would have picked up on them. CS Lewis is missing, as is Susan Cooper. But otherwise, yeah, that’s pretty close. Tanith Lee should be higher, of course. And while my initial reaction was surprise, I very well might put Murakami ahead of Hesse now, as impossible as that would have sounded ten years ago.

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