Voices from Russia

Sunday, 15 November 2015

15 November 2015. On the French Flag Overlay Idiocy…

01 sarah palin age of stupid


I saw this on FB:

I’d take this flag overlaying more seriously if anyone ever changed their Facebook picture (or even showed any interest) when an American drone wipes out a wedding party in Afghanistan. It truly is selective, manipulated, groupthink outrage. To quote somebody else, “Please, don’t tell me to drape my profile picture in the flag of France. Because two days ago you didn’t ask me to drape my profile picture in the flag of Lebanon; and the day before that, in the flag of Yemen or Syria; or two weeks ago, Russia; and in the months before that, Iraq, or Libya, or the flag of Palestine”.

Andreas Walsh

That says it all. I’m proud to say that Andreas is one of my FB friends. I’m humbled to be in his circle.



Sunday, 4 January 2015

Muscovites Answer Western Sanctions with Patriotic T-Shirts

00 patriotic t-shirts. russia 01. 04.01.15

“Sanctions? That Doesn’t Amuse My Iskanders!” “Sanctions Don’t Scare Our Topols!”


00 patriotic t-shirts. russia 02. 04.01.15

“We’ll have fun even without your Coca-Cola!”


00 patriotic t-shirts. russia 03. 04.01.15


00 patriotic t-shirts. russia 04. 04.01.15


Now, Russians can demonstrate their resentment of Western sanctions by simply wearing patriotic designer futbolki (T-shirts). On Tuesday, a campaign to swap foreign language futbolki for ones with patriotic prints free of charge kicked off in Moscow’s central Pushkin Square. In front of the Pushkin monument, the futbolki were on a stall with a samovar. They had funny and derisive texts mocking American sanctions… one had an image of Iskander SRBMs saying, “Sanctions? That Doesn’t Amuse My Iskanders!” Others had lines from the Russian national anthem on a background of St Basil Cathedral on Red Square. Designer Anastasia Zadorina, whose company made 30,000 patriotic futbolki, told ITAR-TASS, “All are trendy, nice, and witty. We call our action ‘Fashion Says ‘No’ to the Sanctions!’” Young people flocked around the stall, with newsmakers seen among them. Girls changed clothes in a bus parked nearby, boys did it just in the street, despite the cool autumn weather. Actress O I Kabo put on a futbolka with a giant Topol mobile ICBM reading “Sanctions Don’t Scare Our Topols”. Olga Igorevna said that she didn’t doubt Russia’s integrity, emphasising, “We’ll win because we’re big and strong. I hope that the present confrontation will soon end. Two such creative countries like Russia and the Ukraine simply must live together”. According to Ksenia Melnikova, one of the co-organisers and President of Sodeistviye (Assistance Fund), the key idea was to show the world that Russia isn’t afraid, saying, “Russia isn’t afraid of sanctions. We’re ready to give away patriotic futbolki not only in exchange for foreign ones, but just to help people demonstrate their patriotism. As for futbolki with foreign language printing, we’ll recycle them. Maybe, we’ll create some art with them. Two Russian companies sponsor this and we may start a popular fundraising campaign to promote it”. Organisers said that their bus would go around the city over the next two weeks and they plan to involve celebrities in their campaign. From Moscow, the patriotic bus will go throughout Russia, including the Crimea. On 29 September, there’ll be a special action at Moscow’s Vnukovo Airport, when they’ll hand out patriotic futbolki to travellers and passers-by.

23 September 2014




The USA forgets that it’s taking on a peer-power. There are three major powers in the world today… the USA, the Russian Federation, and the People’s Republic of China. None of these three can successfully invade the others. All have sufficient nuclear deterrent forces to repel any possible invasion. Besides this, Russia and China are immune to American naval supremacy, as their trade routes lie overland, not over sea routes. The USA is NOT the “sole superpower”… IT NEVER WAS. Anglo Americans are hubristical children who pout if others don’t kiss their ass constantly and tell them how great they are. If they don’t receive their “due”, they threaten violence… as one has seen in the history of the world since 1991. The USSR held the USA’s aggressiveness in check from 1946 to 1991. The last 24 years have spotlighted the vacuous and chaotic anarchistic nihilism at the heart of the Radical American Experiment. Nasty, isn’t it? “Liberty” is a notional figleaf for a philosophy that extolls the strong exploiting the weak… if you doubt that, ask American blacks, Chicanos, and Native Americans (Ask Mexicans what happened to Tejas and Northwestern Mexico… the Anglos stole them by force of arms and called them “Texas” and the “American Southwest!”)… they’ll tell you the ghastly and posturing history of the Anglo American (brutality delivered with a smarmy and insincere smile… cold relentless torture justified by “warm n’ fuzzy” “Evangelical” pabulum (Scalia says so, after all))… it’s a tragic saga with no idle words in it.

These juvenile brats have nuclear weapons… they DID use them, after all… God DO help us all…


Wednesday, 6 March 2013

The Point of Impact

00 'Byzantine' Fashion. Blasphemy. 06.03.13


Some time ago, the public saw the new collection from famous fashion designers Dolce and Gabbana. They based it on Byzantine (New Roman) church art, including faces of the Virgin and the saints from icons, and holy Christian symbols serving as accessories and jewellery. We saw large crosses like those worn by bishops and other ecclesiastical regalia located below the belt of models, images of saints were painted on heels or on the genital area of clothing.

The reaction of the fashion world was quite subdued… critics accused the designers of lacking novelty and of using an overly-literal depiction of religious images. In fact, for a long time, the world of pop culture and show business has been accustomed to the frequent use of the sacred Christian symbols… jewellery in the form of a cross and pop divas prancing about in nun’s habits are quite commonplace. In addition, frankly satanic symbols are common in mass pop culture; it’s become a huge industry. Inverted crosses, pentagrams, and all the trappings of Satanism are an integral part of the subculture, including a subgroup of aesthetes associated with a cult of drugs and getting high, found in a wide range of rock music… from the psychedelic to the so-called “metal”.

Because Dolce and Gabbana toyed with Christian symbols in their fashion designs presented to the public, one could call it an exercise in sophisticated anti-Christian mass culture… was it just ordinary bourgeois boredom… was it even a kind of perverted “return to tradition?” However, this event is much more significant than just another attempt to put sacred Christian symbols into the mass industry of show business, for modern people have forgotten their true meaning. It shows the actual state of Western civilisation, which is post-Christian, or, rather, anti-Christian, and its idiosyncratic nature. We could describe this condition as “the point of impact”. In artillery jargon, this term refers to the point where a projectile hits the ground. In the current socio-cultural situation, we can talk about the final convergence of two vectors… mass culture and avant garde élite culture. These vectors mutually influence each other; they act as mutual catalysts, heightening their mutual velocities, leading modern civilisation into the abyss of rebellion.

The so-called modern élite culture includes contemporary art, rock music, and experimental cinema; it was and is a laboratory of mass culture, a factory for the development of meanings and images used by the fashion, entertainment, and advertising industries. This esoteric laboratory tests the readiness of the public conscience to accept new meanings and images. This testing takes place in the form of the removal of all conceivable constraints of traditional consciousness by levelling and destroying all its forms, especially religious ones.

The successive erasure of cultural memory, of the civilisational memory of God, accompanied by the destruction of religious codes has cultivated decomposition as an art form; it’s the source of the piles of money earned by the producers of mass culture. Fact is, this product, like any other, has its marketing and sales laws. That is, the person consuming it would then need to experience this again and again, thus, ensuring the reproduction. However, one doesn’t approach grounded and knowledgeable individuals (уцеломудренный), rather, one appeals to ciphers with a broken and disjointed will, because popular culture is addressed not to grounded and knowledgeable individuals with individual will, instead, it appeals to those who’ve subsumed their individuality in subordination to the zeitgeist.

Thus, popular culture has two successive and interrelated objectives… to dismember the human person, to excite their easily-aroused psychophysical instincts (e.g., sexual or of destructive urges), to spur them to act on them impulsively. Algorithms for working this equation were developed in the laboratory of avant garde culture and contemporary art. This contains a deeper meaning, a kind of anti-sacrament in contemporary art. If the Christian sacrament intends to bring reconciliation to a human soul soiled by sin, then, this anti-sacrament aims to bring about a complete destruction of the soul, taking something meant to be solid, smashing it, and scattering it to the winds.

To trace the basic trajectory of modern culture briefly, to recognise this laboratory in which, in particular, the anti-Christian strategy of mass culture germinates, it’s necessary to mention some figures that blazed its paths. They came from the radical wing of contemporary art, they founded the “trend”, which is moving (and which will move in the foreseeable future) modern civilisation. Of these radicals, in the first place, one could mention a member of the so-called “Vienna Actionism“, Georg Nietzsche, who exhibited his “work” in Moscow a few years ago. Mobile and fixed exhibitions from his Theatre of Orgies and Mysteries were supposedly illustrations of the Gospel events and use Christian symbols, including a crucifix submerged in a terrible and bloody bacchanal of naked body parts portraying an unbridled orgy. He used both artificial and real blood; he butchered animals and birds. This eerie pagan mystery went far beyond good and evil, being a demonstration of extreme satanic possession, in which the human form is completely lost.

In addition, one can’t fail to notice the activities of other known “artist” Oliviero Toscani, who works mostly in the genre of postmodern photography, often used in advertising. His photographs are widely used as advertising images; a clothing company used images that depicted Catholic priests kissing nuns. The advertisement was posted in Rome near the Vatican City walls, which resulted in a major scandal, which led, in turn, to a sharp increase in sales. This situation, by the way, in many ways illustrates the relationship of contemporary art and pop culture; it only stipulates that anti-Christian themes successfully work on the flywheel of mass production industry.

Most often, the objects of attack by “contemporary art” are the most holy and sacred symbols of Christianity, including the crucifixion. Blasphemous images of the Lord on the cross are a favourite “satire” of postmodernists, such as the image of a drunken crucified frog, with a beer in one paw and an egg in the other (Martin Kippenberg), or a series of photos of crucifixes immersed in glass cups filled with urine (Andres Serrano). It’s impossible not to mention the recent events that took place in Moscow and some other Russian cities. This was a series of exhibitions with a controversial anti-Christian theme and protest actions in some churches {that is, Pussy Riot was profoundly WESTERN; it had NO Russian roots whatsoever: editor}. It only exists on the periphery of our civilisational vector; however, post-Soviet contemporary culture repeats the verities of the West in the 60’s.

Thus, the glamorous, but no less blasphemous, collection of Dolce and Gabbana is an extension of and a watershed in the general anti-Christian vector of apostasy in the development of modern civilisation. Pop culture, which includes the world of fashion, draws techniques, meanings, and images from the laboratory of avant garde culture; it reproduces them, turning them into a well-packaged consumer product. Reproduced with stunning accuracy, one sees that the images of Christian art no longer inhabit a sacred space; one doesn’t even recognise them as relics of a bygone European culture. Now, they’re nothing more than scattered fragments, shards that lost their lost meaning, ghosts whispering of the existence of a dead European Christian civilisation. This posthumous existence of culture, revealed to us by two fluky sodomites, should finally lead us to an understanding of our place in the world and of our Christian cultural mission. In the final analysis, the death of Christian culture is our common problem; one can only say with bitterness the words of King David… The fool hath said in his heart, There is no God (Psalm 13.1).


Click on the URL below, the original Russian post has more images of this “creative” designer’s work…


6 March 2013

Andrei Yakhnin



Editor’s Note:

I’ll simply say this… the Left is more profoundly conservative in a real sense than any of the Righties are. The Right trumpets individualism and anarchic shrugging off of all limits (that’s what laissez-faire economics is all about). The Left says, “We’re in this together; we have to share what’s there”. There are more believers amongst communists in Russia than there are amongst pro-Western crapitalists. Reflect on that. Gennady Zyuganov was right… Christ WAS the first communist, and if we wish to have a godly and moral society, it basis MUST be rooted in socialism, not godless grasping crapitalism. ‘Nuff said…


Friday, 8 February 2013

Hair Politics: American Black Women Face Unique Dilemma

00 Black hair. 08.02.13

Natural doesn’t mean ugly!


Esi Ozemebhoya remembered the jaw-dropping disbelief of classmates when they saw her for the first time after the “big chop”. Ozemebhoya, a 19-year-old student at Georgetown University said, “It was a big deal”, describing the reaction of classmates to her decision to cut off her chemically-straightened hair and allow her tightly-coiled curls to grow out naturally. “They were shocked. They stared at me and said: ‘But … WHY?!’” Ozemebhoya’s experience, experts say, spotlights a unique dilemma faced by millions of black women eager and able to meet career challenges in America’s resolutely-conservative workplace, yet, compelled to subvert their physical nature… at their own expense… to do so.

For black women in particular… in contrast to black men or people of either gender from other races… it’s a subliminal and, critics argue, unfair pressure to conform to a standard of “professional” appearance in corporate America by artificially altering a basic body feature. Lori Tharps, co-author of the 2002 book Hair Story: Untangling the Roots of Black Hair in America, which examined African-American hair issues over the past 500 years, stated, “The historical brainwashing we’ve received as a people is that black hair showed inferiority and ugliness”. In an interview this week with RIA-Novosti, Tharps explained that the goal of the book that she wrote with Ayana Byrd was to raise awareness about the issue among fellow women of colour and help them understand that decisions on hairstyles must be a choice… not a requirement, saying, “The opposite of straight hair is not ugly hair”.

Women achieve the straightened-hair look, glamorised by US First Lady Michelle Obama, television talk show star Oprah Winfrey, pop diva Rihanna, and numerous other high-profile personalities, in a variety of ways including chemical relaxers and hair extensions. Many black women, including 29-year-old Lauren Williams, said that for them the decision to suppress or alter their natural hair it is purely a matter of aesthetics, convenience, and personal choice. Williams, a Washington-based political communications professional, said, “There are certain styles I just don’t feel would be accepted. Historically, if African-Americans wanted to progress both personally and politically there had to be some assimilation that occurred during the process. I have to fit into the ideals of what a hiring manager thinks would make for the best candidate”. However, whilst Williams compared the cost of maintaining her hair extensions to investing in a quality business suit, she also confessed to a “secret love affair” with natural hair, a topic she’s addressed on her political style blog, Posh Politics.

Commentators in fields ranging from sociology to entertainment point out that straightened hair may be lower-maintenance than grooming and training natural curls, a booming, multi-billion dollar black beauty product industry may also influence the choice black women make about their hair. In 2011 alone, African-Americans spent 7.6 billion USD (230 billion Roubles. 5.7 billion Euros. 4.8 billion UK Pounds) on personal care products and services including hair, spa, and other beauty treatments, according to a report from Target Market News, a Chicago based firm specialising in black consumer market trends in the USA. Professional hair stylists in New York and Washington contacted by RIA-Novosti said chemical relaxers and hair extensions can range in price from 100 to 10,000 USD (3,020 to 302,000 Roubles. 75 to 7,500 Euros. 64 to 6,400 UK Pounds) per appointment, depending on the client’s location and the services delivered. The 2009 documentary Good Hair starring comedian Chris Rock captured the centrality of “the hair question” to the lives of African-Americans in general, and to black American women in particular. Actor Paul Mooney joked in the film, “If your hair’s relaxed, white people are relaxed. If your hair is nappy… they’re not happy!”

Historians, hair-stylists, and student activists all said that American black women face unique challenges on a variety of levels in making their natural hair “acceptable” enough to level the playing field with any other colleague in the workplace. Nevertheless, they also said that there’s progress on the issue. Christopher Chambers, professor with the Georgetown University Culture, Communications, and Technology programme, said, “I think the barriers are slowly coming down”. He went on to say that we’ll need more high-profile black women wearing their hair naturally… and serving as role models for younger generations… for the walls to disappear entirely. Patrick McKay, chairman of the Human Resource Management degree programme at Rutgers University in New Jersey, concurred. He said that differences in tolerance levels were starting to become more apparent in various industries and sectors of the US economy, observing, “What I’m finding is that it depends on the diversity climate of the company”.

Over the past decade, the so-called natural hair movement has gained momentum, with the help of social media and blogs serving as a resource for women curious about leaving the chemicals behind. For Georgetown sophomore Ozemebhoya, the issue is less about whether her peers approve or disapprove of her new look than it is about basic freedom and acceptance of her natural appearance, saying of her decision to cut her chemically-straightened hair, “It was liberating”. She called it the “Big Chop”… for the first time since she was five-years-old, she felt the texture of her natural hair.

8 February 2013

Sasha Horne



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