Athens – the ruins of Europe

For millennia Athens has been seen as the birthplace of Western civilisation. Yet on her visit to the Greek capital this week, H&D‘s European correspondent Isabel Peralta found a stark contrast between this classical archetype and the Greece of today.

In the shadow of the Acropolis, today’s Athens is the capital of a state completely stripped of its identity – national, cultural and racial.

In this video (now available with English subtitles) Isabel visits both the glories of the Parthenon and the sadly contrasting disgrace of multiracial Athens.

Reclaiming May Day for European workers!

The traditional celebration of Beltane in Edinburgh on the night of April 30th – May 1st

May Day was a traditional European festival long before it was hijacked by American Marxists in 1889.

Linked to the ancient celebration of Beltane (marking the midpoint between Spring Equinox and Summer Solstice), May Day is marked in Germany by Walpurgis Night and in England by traditional dances.

The Maypole is the best known English tradition associated with May Day

One of the most colourful celebrations of Beltane is in Edinburgh, which for H&D readers had a special significance this year because our comrade Vincent Reynouard has been in Edinburgh prison for more than five months. (An interview with Vincent will appear soon on this website and in the July-August edition of H&D.)

A sketch of the lost painting Floralia, by Antonio María Reyna Manescau, celebrating the Roman festival of spring. Only sketches survive because the painting (dating from the mid-1880s) was lost during the Spanish Civil War.

Racial nationalists have rightly begun to reclaim May Day as a European festival, and to assert the reality that we are the true champions of European workers.

The so-called ‘left’ has long since surrendered to the demands of global capitalism. Mass immigration is championed both in the name of ‘wokeness’ and to provide cheap labour, directly undermining the wages and working conditions of Europeans.

Meanwhile the so-called ‘right’ sometimes talks about resisting mass immigration, but in reality its reactionary ideology is in many ways worse than the ‘left’, and is even more devoted to the exploitative values of global capitalism: anti-nature, anti-worker, anti-White, anti-European.

On May Day 2023 H&D‘s comrades around the world asserted the eternal values of racial nationalism – the true interests of European workers.

H&D’s comrades from Devenir Europeo displayed a banner celebrating May Day in the centre of Madrid, at the entrance to the Royal Botanic Garden
The banner reads: “Neither Left nor Right, May 1st Belongs to the People”

The Martin Luther King race relations industry

Among the most ludicrous products of the worldwide ‘race relations’ industry is the veneration of Martin Luther King.

This cult’s latest emanation is a sculpture unveiled this week in Boston, Massachusetts.

Amid controversy about the sculpture, critics and supporters alike have missed its essential absurdity.

The artist responsible for this work says he was inspired by a photograph of King embracing his wife: but nothing could be more ridiculous than seeking to venerate the ‘martyred civil rights leader’ as, of all things, a faithful husband.

The new statue in tribute to Martin Luther King is titled ‘The Embrace’

By today’s moral standards, Martin Luther King would be condemned as a serial adulterer. Indeed one of his main political enemies – FBI Director J. Edgar Hoover, who viewed King as a crypto-communist – had by the time of King’s murder compiled many volumes of evidence about his infidelities.

Had King not been the victim of a literal assassination, there was ample evidence to assassinate his character. One FBI document records how King laughed as he watched a colleague rape a woman.

This and many other shocking allegations were discussed almost four years ago in a mainstream magazine article by a respected biographer.

But all this has to be written out of history, because King’s status as patron saint of black liberation is simply too important for our rulers to allow facts to contaminate the legend.

Instagram’s war on truth: H&D writer banned within 24 hours

H&D writer Isabel Peralta – the 19-year-old student from Madrid who is the best and brightest of a new generation of European nationalist activists – launched a new Instagram account this week, but was banned within 24 hours!

Readers can judge for themselves whether this ban was justified under Instagram’s rules against promotion of ‘hate’.

Every attempt to ban Isabel from social media exposes the hypocrisy of our rulers and exposes what they truly fear.

Our rulers are happy with the crudest and most ill-focused expressions of ‘hatred’ and anti-social behaviour.

They fear a clearly expressed ideological challenge to their anti-European agenda.

We have total confidence that Isabel Peralta will continue that challenge with courage, intelligence and ideological fortitude.

Though banned now from Twitter and Instagram, Isabel still has a YouTube channel – but she has no connection with numerous other social media accounts that use her name.

Earlier today H&D published an English-subtitled version of Isabel’s latest video (see below), in which she recommends books and other cultural foundations for those who wish to dedicate themselves to a 21st century European renaissance.

Death threat to H&D author as Zionist vandals hit German art gallery

As part of an escalating dispute between Zionist extremists and the pro-Palestinian movement, vandals have attacked Germany’s most famous exhibition of contemporary art, defacing the site with graffiti threatening H&D writer Isabel Peralta.

Far from intimidating Miss Peralta or H&D, these death threats perfectly illustrate the contradictions that have overtaken once-allied movements of International Zionism and the ‘multicultural’ Left.

The attack occurred earlier this week at documenta – an exhibition that takes place every five years in the German city of Kassel at the Fridericianum, one of Europe’s oldest museums, which for more than thirty years has been dedicated to ‘contemporary art’.

The Fridericianum, Kassel

While Kassel is best known as the home of the Brothers Grimm – archetypal chroniclers of German folk tales – this documenta festival was intended from its inception almost seventy years ago as a celebration of modernism and a rejection of national-socialism. It was founded in 1955 by an ‘anti-nazi’ artist and teacher – Arnold Bode, who set out to celebrate those artists who had been ‘forbidden’ or discouraged during the Third Reich.

Bode curated the first four documenta events but since 1972 a committee of experts has appointed a different artistic director each time. The 2022 event – the fifteenth in the series held every five years – is directed by ruangrupa, a ‘contemporary art collective’ based in Indonesia.

However, months before the exhibition was due to open, Jewish lobby groups began to attack these Indonesians for their support of the ‘Boycott Divestment and Sanctions’ movement (BDS) that seeks to isolate the State of Israel for its increasingly brutal treatment of the Palestinians.

The attack was focused on one of ruangrupa‘s partners in the exhibition – the Khalil Sakakini Cultural Centre, which is Palestine’s leading artistic organisation.

The Khalil Sakakini Cultural Center, Ramallah, Palestine

As in the UK, Zionists and their support network in Germany have sought to demonise and criminalise the BDS movement, in the latest of their usual manoeuvres to portray victims as culprits.

Several meetings have been held between leading German Jews and Claudia Roth, a politician from the Green Party who is now Culture Minister in the federal German government, having overall political responsibility for major artistic events such as documenta.

Zionist commentators in the German media had been very critical of Ms Roth but were becoming more confident that their lobbying was having effect. However the violent wing of the Zionist movement has now jeopardised this ‘progress’ by taking matters into their own hands and physically attacking the exhibition a month before it is due to open.

Late last Friday night or early Saturday morning, burglars from this Zionist faction broke into the building in Kassel where the exhibition is being prepared. On the walls of the building they sprayed the number ‘187’ (typically used in ‘rap’ and graffiti ‘culture’ as a reference to Section 187 of the California Penal Code, i.e. murder) and the name ‘Peralta’.

German police and journalists all assume that this referred to Isabel Peralta, the young Spanish nationalist now writing for Heritage and Destiny who was controversially banned from entering Germany two months ago.

Isabel has attracted controversy since February last year when she spoke at a memorial for the Division Azul, Spanish volunteers who fought alongside German forces against Stalin’s Red Army on the Eastern Front after 1941.

Isabel Peralta and comrades at a pro-Palestinian demonstration in Madrid – click here for video

She has also spoken out against the Spanish government’s failure to control immigration, and has addressed demonstrations in support of the embattled Palestinians.

It seems clear that the Zionist vandals were intending to threaten both Isabel Peralta and the pro-Palestinian groups involved in organising the documenta exhibition.

To his credit, the Mayor of Kassel quickly denounced the attack: “Having discussions about documenta fifteen is one thing, wanting to intimidate artists with criminal offences goes far beyond what is acceptable.”

H&D is continuing to investigate the extremist Zionist networks behind this attack.

One irony is that for most of the 20th century (and even today) prominent Jews and Organised Jewry were champions of the most extreme forms of contemporary art, seeking to ‘deconstruct’ Western civilisation. The former treasurer of the Conservative Party – Ehud Sheleg, presently the focus of controversy over an allegedly illegal Russian donation – is a prime example.

As with other forms of ‘multiculturalism’ promoted for a century by leading Jewish spokesmen – notably mass non-White immigration into Europe – Zionists are now reaping what they have sown.

The next issue of H&D will include an article by Isabel Peralta viewing the ‘Decline of the West’ through the prism of art. This week’s criminal vandalism and death threats will not deter her or us.

Part of the Zionist vandalism this week in Kassel

Fade to Black – The darkening of our screens and its part in the theft of our past and our future

You fly into London on a British Airways plane on which you are shown an animated film about safety. It stars a cartoon Black man with his cartoon White wife and their cartoon mixed-race child. You pass through immigration control and are poked and probed by Brown people wearing hijabs and turbans who jabber at you in an unintelligible version of the English language. Heading for the tube you pass a poster that shows a Black woman dressed in Elizabethan garb beckoning you to the Globe Theatre. On the ride into town you see posters for the latest West End plays. There are productions of Shakespeare’s Richard II and Henry V starring Black women in the title roles. (The critics rave that these classic plays finally make sense.) There is also an Asian actor playing David Copperfield and Christmas pantos starring Blacks and Asians as Cinderella, Dick Whittington and Snow White. Next to the entertainment ads are those for mortgages and mattresses all featuring Black men with White women. And, they are almost always blonde women.

You get home, put your feet up in front of the TV and notice that there are an unusually large number of Brown people on the streets of Victorian London as depicted in the BBC’s latest version of A Christmas Carol. And, the villages of Midsomer are teeming with more people-of-colour than your local benefits office. Even Doctor Who is suddenly a Black woman! You channel surf and are confronted by Black Vikings, Black Centurions, Black Tudors and an Asian King Arthur! The news is read by a Brown person. The weather is given to you by a Brown person. Your favourite gardening program is presented by a Brown person. The Brown person presenting your favourite wildlife program explains without a trace of irony the danger of extinction faced by native fauna and flora due to the invasion of alien species.

In disgust, you turn off your TV and browse through the latest brochure from The National Trust. But something is odd – most of the people shown wandering around the stately homes of England are Brown. The mothers of the large, happy families in the photos wear Muslim or Hindu garb. The only White faces are those of blonde women holding hands with Black men and their mixed-race children.

Meanwhile, your teenage son is in his room playing a new computer game set in World War I. But, in this version of the Great War the trenches look like a Saturday night in Brixton and the game’s logo is the face of a Black Tommy. You wonder if you have slipped into an alternate universe or are dreaming. But, you aren’t dreaming. You are living through a waking nightmare. And, I can tell you why.

Dev Patel (above right) as David Copperfield

I’ve been a professional actor for fifty years. I’m also a proud member of that most despised of all groups – old White men. I’m not a star or even a semi-name but you have probably seen and heard me many times. I know the world of advertising and show business. And, I know how, why and by whom our screens are being darkened, I am being denied work and our past and future are being stolen from us.

The answer is BAME. It stands for Black, Asian or Mixed Ethnicity. And, that acronym is now an essential part of every media company’s ethos. When a brand is hiring actors for a commercial or a production company is hiring actors for a play, movie or TV program, they proudly trumpet the fact that they prefer to see or will only see performers who are BAME. (Imagine what would happen if someone advertised with a preference for White.)

The Cultural Marxist octopus has many tentacles and has been at work in all the arts for many decades. As a child in 1950s America, I saw early attempts at “colour-blind” casting. But, in the 1960s, the prominent New York theatrical producer Joseph Papp started pushing it big-time in his Shakespearean productions in Central Park. (You will not be surprised to learn that Papp was a Jew.) I suffered through many productions of Romeo and Juliet with a Black Romeo and a White Juliet. Or, a Black Macbeth and White Lady Macbeth. The audience wasn’t supposed to notice these racial absurdities and anyone who did was a racist. So, most people pretended not to notice and they still do.

Oriental audiences are more forthright in their opinions. They want White heroes. Star Wars films that feature Black actors flop in China – a very important film market. So, the Star Wars producers avoid putting Black faces on the film posters. And, the latest Star Wars had to remove a gay kiss to make it acceptable to Orientals who want their heroes straight, too.

We Occidentals feel the same even if most won’t admit it. We vote in private with our money. The producer of the mega-successful comic-book “cape hero” film franchise let slip at a convention that movies and action figures based on non-White characters don’t sell – worldwide. The sale of dolls, clothing and mugs etc. is a major part of the profit stream for any film or animation. It is a racially revealing economic fact that Black Barbie and Ken dolls don’t sell – even to Black kids. Gay and trannie Barbies and Kens also gather dust on store shelves. White heterosexuality is the go-to choice for everyone.

But, shouting “Commercial considerations be damned”, the Cultural Marxists have doubled down in Britain and are putting propaganda ahead of profit. The British Film Institute (BFI) which bestows crucial funding to film projects fell into the tentacles of one Josh Berger, an American Jew with a long Hollywood history. Under Berger’s malevolent influence the BFI has mandated higher levels of BAME. Any production that does not meet the set levels will be denied funding and thus any chance of distribution or awards. It will be dead. So, producers genuflect to globohomo and grind out the anti-White, anti-heterosexual, anti-Christian propaganda that pollutes our screens. Adding insult to injury, we are paying for this filth because the majority of the BFI’s money comes from the UK taxpayer!

The levels of race and gender-blind casting mandated include –
• At least one lead character must be non-White
• 50-50 male-female ratio in entire cast
• At least 20% of cast must be non-White
• At least 10% must be LGBTQ
• At least 7% disabled
• A large proportion of plot lines and filming locations must be set among underrepresented groups.

With those parameters in mind, try writing a film that should by natural law, reason and historical fact be set in a White, male world. How can you fit that many women, homos, lesbians, trannies, Hindus, Muslims, Sikhs, Blacks and crippled, cis-phobic, bi-curious Eskimos into a Lancaster bomber, a monastery or the Alamo? And, I wonder if these same race and gender targets will apply if an all-Black film company sought funding for a movie set in a lesbian bathhouse in Somalia? Would the screenwriter have to find a way to squeeze White, Christian, hetero males into the steam room?

Shakespeare’s Globe Theatre recently produced Richard II with an all-black female cast

We aren’t being betrayed by the BFI alone. The British Academy of Film and Television Arts which bestows the prestigious BAFTA awards is equally on-board the globohomo express though it is (small comfort) privately funded. Still, if you want to win a BAFTA you must bow down to the Cultural Marxists who run that outfit.

And British Equity (the actors’ union) promotes and protects every race but White. It cares nothing for the race that only created theatre, film, television, radio, the internet and trade unions! It promotes and protects every sexual persuasion but heterosexuality. My union dues are currently paying for a campaign to ensure that “trans” actors get to audition for roles of any gender including those of the gender they claim to have left. Meanwhile, I can’t get an audition to play an old White guy because it’s being played by a Black female-to-male trannie!

The BBC admitted that its race-blind casting of period dramas is not historically accurate but feels it is important to do it in the interests of cultural cohesion. Well… if this BAME business is not part of an anti-White agenda but just a well-intentioned attempt to make us all race and gender-blind then when do I get to play Martin Luther King or Winnie Mandela?

Meanwhile, for all their disingenuous calls for race-blindness, Black performers insist on race based preferential treatment and love “acting Black” – especially in period dramas. Notice how Black actors in plays by Shaw, Ibsen or Wilde will use a ghetto pose and vocal inflection to get a cheap laugh. They are Black to their bones and they know it and are happy to play the minstrel if it’s to their advantage.

At this point a few questions come to mind. If non-Whites were important personages in what we thought had been a White world then what the hell are they complaining about? If Blacks really “wuz kangz” as the Black Israelites proclaim (including kangz of England) then where was the discrimination? And, if Blacks were capable of achieving so much back-in-the-day then what the heck happened? Did they simply forget how to be physicians, scientists, architects, engineers and, yes, kangz?

Remember those National Trust brochures full of photos of happy smiling Brown people? They are a staged hoax. The National Trust advertised on casting sites all over Britain for BAME models and actors to pose as visitors and staff at stately homes. But, in reality, if you visit NT properties you will see that with rare exception they are delightfully White in both staff and visitors. Still this hasn’t stopped the NT management from pushing globohomo. They “out” and promote queer members of the families that owned the properties. And, they suggest that bent Uncle Bertie was the best of the bunch. The NT even tried to force its volunteers to wear rainbow flags but most refused. Meanwhile, when I speak privately with older NT volunteers, I find they have fond memories of Enoch Powell and Oswald Mosley.

I have starred in many TV commercials for top brands that were broadcast worldwide. I assure you that it isn’t merely fashion or whim that matches so many Black men with White women. In a thirty second commercial every second counts and nothing appears on screen by chance. I have seen directors, clients and cameramen almost come to blows in arguments over the color of my shirt. How much more debate has gone into the colour of the actor’s skin? So, these racial pairings are not accidental but are blatant attempts to break down the resistance to race-mixing from all races. Listen to Black talk radio programs and you will hear Black women weep that Black men are encouraged to get blondes. In fact, Black Nationalists (our mirror image and possible allies) believe that race-mixing is the ultimate sin. And, we know what happens to Asian girls who race-mix. But, as with films, the Cultural Marxists don’t give a damn and plow on sacrificing profits for propaganda.

Case in point: Gillette recently ran an anti-male ad campaign that suggested all men (especially White men) are sex-pests. White men were outraged. This campaign culminated in an ad in which a Black father showed his daughter who had “transitioned to male” how to shave. This time Black men were outraged. This PC campaign cost Gillette a record amount of profit. But its CEO said it was worth it to promote diversity.

Alongside the tribe that foments and feasts off our replacement lives an opportunistic parasite – the Black “race hustler.” The uber-obnoxious Whoopi Goldberg is master of this scam. And, despite being as funny as a fire in an orphanage, Whoopi has made a fortune playing the fat, sassy soul-sista who is the depository of all wisdom. (Sort of an X-rated version of Mammy in Gone with the Wind or a potty-mouthed Aunt Jemima.) You’ll notice that this smart, sassy maid stereotype is a staple of sitcoms. She is always the smartest person in the house she cleans. She’s certainly smarter than the doofus White dad who is the butt of all her jokes. (There is literally a genre of US sitcom called “Doofus Dad.”)

Believing her own BS, Goldberg has morphed into a political pundit. She holds forth daily on US TV on all manner of subjects while injecting the race card into all of them – no matter how misplaced. She gets away with this because Whites are afraid of challenging her lest they be called racist. Believe me, if you think Jews are good at squeezing the holocaust into any discussion you ain’t seen nuthin’ till you see Whoopi at work. (We have the Jewish director Mike Nichols to thank for Goldberg’s rise to fame.)

Another race-hustler is Bonnie Greer, a smug, American negress based in the UK and a poor-man’s Goldberg. Greer is a regular on BBC political chat programs where she is introduced as, “Noted American playwright.” But, I challenge anyone on either side of the pond to name a single Bonnie Greer play. In fact, in America she is entirely unknown. The woman is a fraud. And, like Whoopi, she benefits from Whites’ reticence to call her out. Meanwhile, the BBC loves wheeling her out because it allows them to tick certain boxes on their diversity chart. Foreigner. Female. Black. Greer’s many appearances allow her to shoe-horn the race card into every subject imaginable while demonstrating the stultifying banality of her opinions. But, I gotta give this sassy, soul-sista credit because with no talent (especially no play writing talent) she has become the House Negro of the British middle-class and (wait for it) a board member of the British Museum!

Homosexuals are also useful idiots for their Cultural Marxist masters. They’ll do anything if it gives them the chance to snort poppers and wear frocks. The lesbians get to wear the pants on stage in taxpayer funded all-female Shakespearean productions. It is true that in Shakespeare’s day young men played the female roles. But, this was not transvestism by choice. It was necessary because women weren’t allowed on the Elizabethan stage. And, there was no kissing or touching in the original productions.

Homosexual playwrights, directors and designers rarely miss a chance to demean Whiteness and masculinity and to degrade females. In a recent London production of a play based on Patrick Hamilton’s brilliant WW2 novel The Slaves of Solitude, the queer director and adaptor changed the American GI who was the play’s love interest into a Black soldier. This was impossible casting for all sorts of reasons. But, it allowed the queers to indulge in their own fantasy of having a Black buck ravage the spinsterish English heroine.

There have been many other instances of plays and musicals being mangled by ludicrous race and gender-bending casting. Edward Albee, Arthur Miller, Tennessee Williams, Noel Coward and Rodgers and Hammerstein all forbade such changes. Some of those men were homosexual but they still recognised cultural vandalism when they saw it. Sadly, their estates are managed by their PC grandchildren determined to make their Grandpa’s back catalog hipster-friendly. That sound you hear is of those disrespected gents turning in their graves.

Meanwhile, the hypocrisy of the Cultural Marxists and their apparatchiks in the arts is stunning. They live in the Whitest communities they can find and send their children to the Whitest schools. (The Clintons live in the Whitest zip code in America, and Jewish Bernie Sanders moved from multi-ethnic Brooklyn to Vermont – the Whitest state!) The only contact these hypocrites have with any non-White is with their Black maid. And, if she gets too sassy, they’ll fire her Black behind.

As employers they are anything but progressive. All the major film, TV and commercial producers including the big streaming services film their projects in poor countries. South Africa and Eastern Europe are especially popular. They do this to bust the performer’s unions in the US and UK. This anti-worker behaviour is nothing new. In the 1930s, the Jewish movie moguls who ran Hollywood hired goon squads to bust up organising meetings for the Screen Actors Guild. Meanwhile, British Equity is too busy creating new genders to act as a genuine trade union and fight the media giants.

These media liberals also go abroad to abuse and exploit the local actors and crews. The same producers and stars who cry on the awards shows about Trump and climate change and animal rights allow film extras to be treated like cattle – forced to stand in the cold and wet for many hours (sometimes all night) and given little or no food and very meagre wages. I’ve had extras beg me for food while the loud-mouth lefty stars dined like Meghan Markle. And, the film crews are forced to work round the clock which leads to unsafe conditions. I have seen actors and extras almost decapitated by machinery. I have walked off unsafe sets but most actors are afraid to stand up for themselves.

If I sound angry it’s because I am. And, I’m proud of it. I’m also proud of my history, heritage and culture and I’ll be damned if I’ll let anyone degrade, destroy or steal them. My anger is fuelled by the blood of my ancestors that flows through my veins. And, as long as that most precious blood flows through me, I shall do all I can to expose and resist the deliberate genocide of our people. A genocide that is being dramatised and broadcast. On primetime. And, we are paying to watch the spectacle. If you don’t believe me just go to a movie or play. Turn on your radio or TV. Or, open your eyes. It’s happening. It isn’t a sitcom or movie. It’s real. It’s deliberate. And, we can stop it. But the entirely legal means of doing so are best discussed elsewhere. In the meantime – Hail Victory!

Jack Antonio, Brooklyn, New York City

Editor’s Note: this article first appeared in the May-June issue #96 of Heritage and Destiny magazine.For a sample copy please send £5.00 or $10.00 to; H&D, 40 Birkett Drive, Preston, PR2 6HE, England, UK. Or email – heritageanddestiny@yahoo.com

Jack Antonio is the author of Boy Outa Brooklyn – a murder memoir. It is available on amazon as a paperback and eBook and from all major eBook distributors. Or, visit Jack’s blog at http://www.boyoutabrooklyn.com

Jean Raspail, Charles Krafft and David Dees

Jean Raspail (1925-2020)

According to Eliot, April is “the cruellest month” – but this year June has put in a strong bid.

No sooner had we published an obituary to our old friend and comrade Eddy Morrison, than we heard of the deaths of three very different major figures in the worldwide movement for White resistance and historical truth.

Jean Raspail – who died on June 13th three weeks before his 95th birthday – was without doubt the best known. H&D readers will probably best remember him for his 1973 novel Camp of the Saints, a dystopian perspective on mass non-White immigration and the swamping of Europe.

A regular H&D contributor who is proficient in French will be writing about Raspail in a forthcoming issue of the magazine, so for now we shall simply repeat Jean-Marie Le Pen’s tribute: “Jean Raspail has departed just at the moment when his prediction arrived.”

Though I never met Jean Raspail, I did meet and correspond with the American artist Charles Krafft, who died the same day aged 72. Rooted in the ‘pop art’ of late 1960s hippies, and first becoming known in such circles as part of an artistic commune in Fishtown near Seattle, by the 1990s Krafft had become a collectable ceramicist. That is to say, he was commercially successful and his work was exhibited in mainstream galleries and purchased by ‘respectable’ people – for example the chief executive of sportswear company Nike had a Charles Krafft teapot in his office.

One of Charles Krafft’s famous teapots

In 2016 Krafft visited London where an exhibition of his work was planned for an East London gallery. This was cancelled after pressure from ‘antifascist’ magazine Searchlight, but Krafft was able to speak at a London Forum meeting organised by Jez Turner, alongside David Irving, Richard Edmonds, Lady Michèle Renouf, Dave Yorkshire of Mjolnir magazine, and Abdallah Melaouhi, Rudolf Hess’s nurse at Spandau.

Charles Krafft generously donated some of his work to an auction to raise funds for Horst Mahler, the imprisoned German philosopher and activist.

It was only during the last twenty years or so that Krafft became active in political and revisionist movements: this cost him a great deal financially and in disruption to his artistic career. His courage and commitment will be long remembered.

Charles Krafft in his studio

A very different artist who also came to politics in middle-age was David Dees, who died on May 31st aged 62. (Like Charles Krafft, Dees died from cancer.)

Whereas much of Krafft’s work involved the Third Reich and militaria, Dees focused on ‘conspiracy theory’ – indeed his art has perhaps had more influence on more ‘conspiracy theorists’ than any other individual has achieved.

Formerly based in Louisville, Kentucky, Dees lived in California for the last decade. During the 2016 Republican primaries, future President Donald Trump proudly held up a Dees print showing him engaged in ‘whacking’ leading liberal ‘moles’.

Unfortunately Trump himself went on to become part of the problem – but there’s a difference between art and politics…

Like Charlie Krafft, David Dees was bravely and generously committed to the cause of Europeans who fight for historical truth (and who face long jail sentences for what would in other fields be ‘normal’ research).

When truth, justice and racial identity prevail, Europeans will celebrate the memory of Jean Raspail, Charles Krafft and David Dees. Very different though they were in background, temperament and ideology, all three of these men were valiant warriors for the cause of embattled Europeans.

  • Find By Category

  • Latest News

  • Follow us on Twitter

  • Follow us on Instagram

  • Exactitude – free our history from debate deniers