Author’s Commentary on “Destination Unknown: Can You Feel the Resistance?”

“Destination Unknown: Can You Feel the Resistance?” carries both maritime and musical motifs. This short article explains some of the euphemisms, metaphors, symbolism and messaging of the fictional story’s details. While much if it may seem confusing, twisted or odd, that is the author’s intent in stressing the chaotic world we currently live in. Much of our culture today is entirely nonsensical. And so many with a keen eye for reality these days wonder why so few can see what is happening, what is going down (as the ship is similarly going down).

The Vikings dominated the European continent and high seas prior to Christianity taking firm hold of its people’s religious and spiritual direction. “The West” is the larger ship that represents the greater civilization of the European peoples and their colonial nations around the world since the demise of the Vikings, roughly the last thousand years as described by Oswald Spengler’s four seasons—spring, summer, fall and Winter—of our European culture. Perhaps this story will spur the great seafarers (metaphorically) of our time to begin building new ships and boats so as to regain command of our own Destiny as opposed to having our vessels and people commanded by forces hostile to our interests, those of Orange Star and Clown World who are clearly sinking our fleet. In this regard, the West obviously contained many flaws that were consistently exploitable. Hopefully this euphemistic storyline will inspire any future Heroes (Yockey liked this term) to begin engineering our more seaworthy boats and ships that could result in a stronger and more efficient fleet, much like we have seen new materials and technology vastly improve upon today’s transportation vehicles.

Music has been credited to initiating peaceful revolutions in some countries like the Baltics’ resistance against the Soviet Union/communism and advocating for nationalism. Apparently their choirs sang themselves into freedom! Music culture has also been philosophically critiqued, again by Spengler, as a measure of a culture’s season and artful spirit. The different types of music referenced in the author’s story, the musicians themselves, and the lyrics symbolically tell a story on its own. Reading history of the 1930s shows how fearful many Europeans were of the new “Jazz” from America that was penetrating the old continent. So should there be concern for us today on where music is now going and how little control our own musical talent has in steering it? The music motif, after the reader listens to the samples linked in the storyline, also expresses a critique on the modern technological world, compares it to the serene song at the story’s end, and hopes that the new maritime fleet will include musical composers that will entertain our people with aural sensations akin to the Ride of the Valkyries, or as soothing as Edward Grieg’s Norwegian folk classic, Morning. Can music bring us salvation? Now for some symbolism on the bands and songs:

The band King Crimson of the time frame featured (1982) consisted of Robert Fripp, Bill Bruford, Adrian Belew, and Tony Levin (two Brits and two Americans, with one of the Americans being a highly liked and respected Jewish musician and the non-Jewish American from Kentucky — the South — where the South has always been over-represented in our military: Thank you Southerners!) This band is comprised of immensely talented individuals, but the “progressive rock” (also known as “art rock”) usually only appealed to the fans of esoteric instrumental music. These are the same fans that might appreciate Wagner’s symphonic music today, but are culturally chained to the product of the modern music industry. Just as the fans of King Crimson music are considered to be on the fringes of popular music, it is men like Erik who appreciate historical research and esoteric (or non-mainstream) writings that find themselves on the fringes of society for the educated viewpoints they hold. This doesn’t make them crazy (or lunatics, as the story would later reveal), but places them statistically in the one percent of the far-right bell curve, whether analyzing musical tastes or political opinions.

The allies of the West during WWII mainly consisted of the British and the Americans, with considerable warm-nudging influence by the Jewish community of America (as suggested in a famous 1939 Des Moines speech by Lindbergh, who is mentioned in the story). These three elements are found in the composition of King Crimson. In the story we find a link to a video clip where King Crimson is playing Munich (1982), the city that launched the resistance to Jewish internationalist influence in the West. The first song of this videotaped concert is “Waiting Man,” and two interpretations found on the internet as to its meaning are (1) The song is from the point of view of a person going to a funeral and then coming home. Home is forever changed by the loss, but retains its integrity. What is he waiting for? What we all wait for after losing a loved one; their return. Something irrational and impossible, yet what we wait for all the same as we grieve; OR (2) It seems pretty obvious to what this song’s about. I think it’s about a guy who falls in love with a girl, the girl goes off to a new (possibly better looking, richer, but not nicer) guy, and the waiting man knows that their relationship will end, so he just sits and waits for her to come back to him. Really a deep and touching song. The story’s author leans towards the first interpretation regarding Western Man returning home. But strangely enough, the opening of Waiting Man sounds like drum beats and melodies more attune to an African vibe, symbolizing the musical and even cultural trends of our last seven decades or more in the West. Is he returning to his home in the West from his modern Africanized cultural enrichment? Did King Crimson re-conquer Germany and the West with its Americanized modern music and all it entails?

The second featured song from King Crimson is Elephant Talk, which alphabetically presents the myriad types of talk we receive in our daily lives. While effective communication are important in our lives, we are unnecessarily inundated with “too much talk” (as the song emphasizes), and at this point in our civilization the bicker bicker bicker, the commentary, controversy, criticisms, and double talk are simply unhealthy for us all. Or so this author suggests. We are overwhelmed with it, and King Crimson’s song suggests the absurdity of what we have grown to tolerate! The guitar solos of the band might sound incredible to the one percent of listeners, but to the majority — especially those women who largely look at music for its danceable aspects — the unique electric guitar effects from Adrien Belew represent noise to ears of the masses, noise that might as well be coming from an elephant, and if an elephant were in the room nobody would recognize it today because the masses only absorb what the system emphasizes. And they don’t want you to notice the big elephant, and you are not allowed in polite society to notice or analyze patterns. And patterns are a great part of King Crimson’s songs, especially the tape-looping and complex Frippertronics of guitar player Robert Fripp. The average music listener in the West could never appreciate Fripp’s guitar work, but the protagonist Erik’s mind is wired with more critical and insightful senses, and watching a King Crimson concert from the front row could equal the fascination he might find in discovering the patterns contained in the books of the web page www.Samisdat.in as found linked in the story. Finally regarding King Crimson music, the author finds it extremely technically advanced and modern for its time period of the 1980s, and we are heading towards technical complexities that will inevitably cause us all profound problems, as great as those constructed by Orange Star/Clown World, and maybe together with them, just as King Crimson was probably under the sway of record-company management.

Red Rider’s Lunatic Fringe signals the messaging mastery of the music and entertainment industry, in that Erik never paid much attention to the lyrics of the song, but loved it his entire life for the rock-styled instrumental elements, just as he probably would enjoy King Crimson purely for the instrumental works while caring little at all for the lyrics. Not only does he hear the introductory slide guitar sounds three times, but the wolf-howling is repeated three times for reasons unknown. There is an inner-wolf residing in all of us of the West, but for now Westerners are droning in repetitive manner to the tunes of their media masters, socially engineered by Orange Star and media controlled by Clown World. Even Erik, with his razor-sharp mind and experience, falls prey to the collective drum beat found in the song.

Lunatic Fringe was written as political commentary (and the word “commentary” being found in the song “Elephant Talk”) that chooses a side that most likely supports those who are destroying the lives of university anti-genocide protestors these days (in 2024), because Orange Star can do no wrong and America is the land of the free. The 2021 interview of the songwriter linked in the article clearly indicates his influences, those being his readings of a Swedish historian, and a particular girlfriend. The author of the story ponders if the songwriter might have had different feelings if he knew of another Swede, Count Folke Bernadotte and the terrorists that assassinated him during his negotiating efforts for Middle East peace after having saved thousands of prisoners from WWII prisoner camps? Did the songwriter’s girlfriend even know about the Count —  few Americans or Canadians ever heard of him because our history is consolidated into a neat little package of approved content suitable for a sixth grader.

Lunatic Fringe is a song that incites hatred against the well-learned, history-revisionists or history aficionados, and hatred for the reader with the critical eye and mind that can score a perfect 1600 on an SAT like Ron Unz did as a high school junior. The lyrics are intended to instill fear in anyone considering to think outside the Orange Star/Clown World box, because they’re on to them now and “can hear you coming.” The lyrics “this is open season, but you won’t get too far” seem to at least tacitly condone the vigilante violence and terrorism so prevalent with the anarchists of today and witnessed a few years ago across our nation. While the songwriter uses the phrase “your final solution” as an obvious reference to WWII villainy understood by all the masses in their Western imperial education, the author of the story suggests that if left unchecked, the final genocide will be of the masses in the West themselves, and what we really need is a “final resistance” (or “waking up”) as a defensive and peaceful measure to this slow-going and insidious attack (as many these days compare to boiling frogs very slowly in a pot).

The name of the lifeboat, “The Savior,” and its listing to the left while it is sinking is an overt reference to how Christianity has morphed sharply in favor of leftist politics, while the right-wing flavor of evangelical Christians favors an end-times eschatological narrative to bring back their savior once and for all. Both of these religious paths are, in the author’s view, detrimental to nationalism and the future of “The West,” and probably are contributing to its sinking. But if it all needs to sink in order to start fresh, that nightmare is becoming more plausible for each new generation.

The passengers on the lifeboat are all like NPCs — non-player characters (such as in a video game) — of the famous internet meme and image included with the story, in that it is tremendously difficult to express views outside what is approved by Orange Star and propagandized by Clown World. To do so would incur ostracism or worse, and maybe even hostility from loved ones who find the repetitive pattern recognitions as representing a rather pessimistic attitude towards the comfortable lives we live today (compared to that of our past). And honestly, most people invest too much of their time working to- make-ends-meet to begin a truth-seeking journey that exposes uncomfortable facts. The sum total of our masses reflects the repetitive picture of the NPCs, since the depths of critical investigation fall statistically to the one percenters of society with exceptionally critical and curious minds.

Erik’s noticing the same behavior in the other lifeboats is comparable to the decline of all Western nations simultaneously while “The West,” the ship representing the greater civilization of European ancestry, is almost sunk as a larger collective. The passengers having their backs to “The West” foreshadows the paragraph that exposes the true attack on America’s Navy ship USS Liberty in 1967, where even lifeboats were strafed by Israeli fighter jets, 34 servicemen were killed and 174 wounded — and hardly anybody knows! This is well concealed from the general public, even Navy personnel, by Orange Star and Clown World and off limits for discussion. The ultimate betrayal capping this off is the downplaying of the Medal of Honor ceremony for its skipper, Captain William McGonagle, and by patriotic museums like the National Medal of Honor Heritage Center (Chattanooga, TN) ignoring requests to honor today’s Liberty survivors. The masses represented in the lifeboat also are betraying the West by reinforcing the unwritten ban on having pride in their European heritage and people, the only people and interests one is not permitted to advocate for today — thanks to Orange Star. Just ask former congressman Steve King and look into his inability to speak positively about Western Civilization without becoming snared in a media trap or reprimanded by his congressional peers (and ultimately removed from his job). This furthers the point made in the author’s storyline that these NPC passengers have their back facing to “The West.”

The mojitos reference points to our addiction and abuse of alcohol, and how it tends to motivate our regular activities and behaviors, to the point that we can’t function in society without it. Henry Ford had a great deal to say about control of the liquor trade in America. But that’s unauthorized reading. The fact that the mojito is a Caribbean drink emphasizes our drift into the culture of the islands like Jamaica. Consider the impact of reggae on Western culture. Has the laid back, pot-promoting music scene been all positive on Western man? Don’t we all see a slow drift into a drug culture that has the entire population entranced and dysfunctional?

The story ends with Erik waking up to the Nordic folk song with natural orchestral instrumentation — one that everyone associates with “the Morning” as the song title indicates. The “Morning Song” by Grieg signals that it is a new day, and perhaps it signals a return to his roots after the noise of the post-modern-civilization Decline of The West (as Oswald Spengler might suggest): The great beginnings of a new culture, but with our same people just as it was the same Vikings who became Christians. Can we (once again) become who we are?

As the ending dedication states, we are all in the same boat that is largely under the command of the Orange Star and Clown World international corporations (representing social engineering and entertainment/mass media respectively), and so the maritime euphemism encompasses this point that these entities have global control. And for today’s political circumstances it further asserts that we are all Gazans. Today’s political news misrepresent “the resistance” just as the song Lunatic Fringe does in its lyrics. Few realize how long ago this all began, but this author’s article on 1922 gives some clues. Will the real, authentic “resistance” please stand up!