Early morning - the 30th of December 2023
I approached the bronze statue (that was erected in 1927) so to observe from really close the details in the work of the sculptor. Then I noticed that the sun is standing above its head. It was that very moment that I realized how a photo will look like: The Discus Thrower of Athens as holder of a black sun.
"Our dead are the only ones with the right to make a demand today, and indeed to us all, at the front or at home. They are the eternal monuments, the voices of our national conscience, which constantly drive us on to do our duty."
Joseph Goebbels - Christmas Eve 1942
The unplugged demo “Out of the Dungeon” will be released on CD for the first time in 2024, in the 30th year after initial recording and release! At the same time, our debut album “Facta Loquuntur” will be made available on CD faithfully replicating the initial release via German No Colours Records, in 1996. This is the last layout done by our long-time friend and ally, the late Hjarulv Henker (RIP), and we dedicate this CD to him!
HORDE ABSURD
Available from:
https://frost-and-fire.com/shop/
Dostoevsky rushes of passion to passion.
Of problem to problem, from depth to depth.
Tempered, pain and pleasure.
People in distorted, unnatural forms.
Corruption, and abyss Genius, madness and idiocy;
Thoughts clear and pure as the sun And distorted until the morbid absurdity.
This is his journey.
A large racial soul in birth or death convulsions Is like a person in a hospital bed, I suspect.
Crisis in the air.
Dostoyevsky is a few daring steps ahead of his time.
It follows him dizzy, anxious, incredulous, but follows.
He let loose, we must follow.
Here we find everything: naturalism, expressionism.
Idealism, skepticism, and what we have made.
But he can not really talk about these things,
Dostoevsky only knows the names of them.
He writes what he sees.
Burning like hell into the brain and the soul.
He writes because this is one of the few things you can write about That means anything in the 19th Century.
The Politics there were changing He writes for his love of Russia,
And his hatred burns against the stranger.
Against the West, the soul...
He must simply accept this.
He comes from nowhere and belongs nowhere.
And remains, always Russian.
His novels are terrific ballads.
What is written in the pages is ridiculous.
Petty, insignificant, sometimes meaningless.
Between the lines, everything can be found.
One has to guess with him and feel.
Flakes, stuff, and plaster, form and symbol.
Including a nation's soul, which jostles forward.
Joseph Goebbels "Michael"
Never were you nearer to us —,
Reminder, call, prayer —
As now when the Grim Reaper
Stands before us.
Never were you so necessary to us.
Towers in the storm of care.
Never were you as alive to us.
We are as acquainted with you as we are with death.
We listen for the call. And we hear
In the night, when all is silent
Your voices. They warn, they swear:
Not only victories! The victory!
As our flags sink
God goes as the wind through the field.
All our thanks and thoughts
Become deed.
—Gerhard Schumann
“Truly these sixteen who fell have celebrated a resurrection unique in world history. The miracle is that from their sacrifice came Germany’s unity, the victory of a movement, of an idea, and the devotion of the entire people. All that we owe to these first men! If I had found no one then ready to risk his life, it would have been impossible to find them later. All the subsequent blood sacrifices were inspired by the sacrifice of these first men.
Therefore we raise them out of the darkness of forgetfulness and make them the center of attention of the German people forever. For us they are not dead. This temple is no crypt, but an eternal watch. Here they stand for Germany, on guard for our people. Here they lie as true martyrs of our movement.
We celebrated this day each year in the past — not always in the same form during the years of persecution — and we are determined that it will be for all times a holiday for the German people. We do this not because sixteen men died. Thousands die daily, even more during an hour of war.
We do it because these sixteen men, with believing hearts, died in a way that helped the German people to rise again.”
ADOLF HITLER
Listen, you holy dead of our people:
As our mouths this day speak your sacrifice,
As we march onward through battle and distress,
True to your call and deepest command,
To stand by that which you have founded for us.
Listen, you holy dead of our people:
Your blood is forever in us,
We want to give you a home in us
And want to be life of your life
And light of the light you kindled in us.
— Sigismund Banek
“This year, with more pride than ever before, we may stand beside the graves of our old comrades. I am almost relieved to look this year to the graves of our party comrades, for I know that these party comrades all had the same goal: the struggle against the Marxist world enemy and its allies. That which we once said before the Feldherrnhalle we may speak with a thousand times more justice today at the graves of our soldiers of the World War: “Comrades, you have won after all!”
ADOLF HITLER
"The ONLY time I have compromised with a record company was when I made this Burzum album.I made it as "The White God", but was strongly advised to change the title, to avoid (more) accusations of "racism".I changed it to "Belus", the PIE name for Baldr (alias "The White God"). The racism accusations was not a problem to me, but to the records company in relation to their distributors. They were already facing problems because they had signed Burzum to begin with. They did not want to taste their luck any more.
I can add that the cover photo was taken by me in Bø i Telemark, in Norway, one day I was out walking in the forest with my (at the time only) son, Tívar."
Varg Vikernes - 11/5/2023
MORE INFO ON "BELUS" HERE:
https://www.burzum.org/eng/discography/official/2010_belus.shtml
OUT NOW!!!
Introduction:
In ancient Rome, the majestic Aquila - the eagle - stood as an unrivaled symbol of the empire's martial prowess and steadfast authority. This emblematic bird exemplified Roman imperium, personifying its unyielding power and unconquerable spirit.
The eagle's symbolic genesis hails from the prehistorical epoch of the Proto-Indo-Europeans, where it served as both a religious and symbolic representation of power and dominion. As the concept of the eagle developed, evolving from the metaphysical to the earthly, it transcended its original celestial attributions, undergoing a metamorphosis to become an invincible representation of Roman military might.
Origins of the Aquila:
The roots of the Aquila can be traced back to the Proto-Indo-European peoples, specifically within the Ur-pantheon of their ancient religious system. In this early context, the eagle served as the divine emblem of the Sky-Father, Diaus Pita. Over time, this deity found parallels in the Greek and Roman pantheons, evolving into Zeus in Greek religion and Jupiter in Roman tradition.
The Aquila, then, was not merely a symbol but an extension of Jupiter's dominion. It embodied divine protection and radiated an aura of martial prowess. This divine authority took tangible form within the Roman legions: the Aquila graced the standards of every legion, manifesting Jupiter's power in a physical form. This powerful emblem served to imbue every Roman legionary with an unshakeable conviction in their martial supremacy. It reinforced the idea of the legion's invincibility on the battlefield, a belief integral to the sweeping success of Roman military campaigns.
The Symbol of Martial Unity:
The Aquila, deeply ingrained in the hearts of the Roman legions, embodied their collective identity and unyielding martial spirit. More than a mere emblem, it served as a beacon of unity, a rallying point that permeated the ranks of the Roman military machine. Its commanding presence encapsulated the essence of Roman martial prowess, instilling a shared sense of purpose among the legionaries.
With wings outstretched, the Aquila stood as a timeless symbol of hope and valor amidst the brutal realities of ancient warfare. Its presence ignited an innate resolve within the Roman legions, inspiring them to conquer all obstacles with undeterred determination and to overcome any adversary that dared to challenge the might of the Roman Empire.
Amidst the turmoil and dust of battle, the Aquila, proudly hoisted on the legion's standard, served as a unifying battle cry. From the tumultuous Battle of Cannae in 216 BC, where the Roman army suffered one of its most devastating defeats at the hands of Hannibal Barca, to the decisive victory at Actium in 31 BC, which marked the end of the Roman Republic and the rise of the Roman Empire under Octavian (later known as Augustus), the Aquila's presence was a constant. It symbolized Rome's undying martial spirit - a spirit that, despite defeats and hardships, always strived for and often achieved victory. The Aquila was more than a military standard; it was the soul of the legion itself, a testament to its resilience, strength, and indomitable valor. In the presence of the Aquila, every Roman soldier fought not merely for survival, but for the honor and glory of his legion, his empire, and the imperium it represented.
Expanding Significance:
As the Roman Empire relentlessly expanded its territory from the late Republic era (2nd-1st centuries BC) through the Principate (1st-3rd centuries AD) and into the Dominate period (4th-5th centuries AD), the significance of the Aquila grew proportionally with the grandeur of the empire. The eagle's role evolved beyond a mere military emblem to become the living representation of the Divine Emperor himself, signifying his absolute command over the legions and his imperium - the supreme authority of the Roman state. Standing as an unparalleled symbol of Rome's might and magnificence, the Aquila echoed across the vast expanse of the empire, from the imposing grandeur of the Colosseum in the heart of Rome to the farthest, most remote frontiers of imperial dominion.
The Dualistic Emblem:
The double-headed eagle, with one head facing Rome—the longstanding political epicenter of the European West—and the other directed towards Constantinople—established as the Empire's capital in 330 AD—served as a powerful symbol of the unification of the empire's distinct realms. This symbolic duality epitomized the cohesive strength that bound together the vast Roman Empire, despite vast geographical and ethnocultural differences.
The Sacred Obligation:
To a Roman soldier, the Aquila bore a sacred significance that transcended the earthly realm, firmly rooted in the spiritual. The loss of a military standard, especially the esteemed Aquila, was an event of such calamitous proportion that it shook the very foundations of a legion's honor. Therefore, recovering a lost Aquila transcended mere restitution; it was a quest for redemption, a restoration of the legion's deeply wounded pride and a reassertion of their unwavering devotion to Rome.
One historical instance which underlines this fact is the calamity that befell the Roman forces in 9 AD in the Teutoburg Forest. Here, three Roman legions - the XVII, XVIII, and XIX - led by Publius Quinctilius Varus, were utterly annihilated by Germanic tribes under the leadership of Arminius. The loss of the three Aquilae was a profound blow to Roman dignity. As such, subsequent Emperors, notably Germanicus under the reign of Augustus' successor Tiberius, launched a series of relentless military campaigns, not merely to exact vengeance on the rebellious tribes but also to restore the lost honor by retrieving the fallen Aquilae. These efforts exemplify the incomparable value and symbolism of the Aquila within the Roman military ethos.
Enduring Legacy:
The Aquila, imbued with martial grandeur, defies the ravages of time, standing as an embodiment of an era steeped in Roman audacity and unwavering spirit. Its spiritual beginnings traced back to the Proto-Indo-European Ur-pantheon, and its subsequent elevation to a symbol atop Roman legionary standards, the Aquila encapsulates the very quintessence of Roman martial might and the enduring legacy of an empire echoing through history. As an emblem of Rome's indomitable spirit, the Aquila's symbolic flight continues, casting an enduring shadow across millennia, reflecting Rome's martial prowess and its timeless grandeur.
In the context of Western civilization and the peoples of Europe, the legacy of the Aquila holds a significant place, intricately woven into the tapestry of our collective identity. This enduring symbol of strength, courage, and authority has left an indelible mark on our ethnocultural, historical, and military heritage, serving as a powerful connection to our ancestral past.
"The temple of Zeus and the temple Hephestus. Here life, God and art have become one. The total show of everything beautiful and noble in perfection. I`m so happy and fullfilled by it. Grateful that there were such great people and designers. Glad that I`m allowed to see this. Athens is indescribable in atmosphere. A magic picture without equal. In the city. Made & purchases. The public is very nice . The authorities amiable, the press extraordinary friendly."
Joseph Goebbels - Diary entry 23 September 1936
Strasser brothers oftenly hailed by pseudo-NS guys of today as the "ultra revolutionaries" and "die-hard anticapitalists". But they were really like this? The reality was far from that. In fact they were the fifth column of capitalism inside the NSDAP. The paid minions of bankers and industrialists so to prevent the true NS forces of revolution of taking the power. Fortunately, the justified action of Night of The Long Knives gave to these traitors what they really deserve. The text that follows shows exactly that.
"In line with his changing ideological perspectives, Strasser was prepared after 1930 to initiate a serious dialogue with industrialists, especially with regard to the mining and chemical industries in the Rhur where Schulz had important contacts. Sympathetic industrialists wanted to be certain that their donations to the NSDAP would be controlled by responsible hands, and August Heinrichsbauer, chief editor of the Rhenisch-Westfalischer Wirtschaftsdienst in Essen and principal link-man of Ruhr industry to the political right who was on friendly terms with Schulz, states that some businessman saw their "responsible" man in Strasser. As a result, received from spring 1931 a monthly subvention of RM10,OOO from the mining industry with the specific objective of strengthrning himself and his "moderate" associates in the part, and of helping them to advance co-operation with the other acceptable right-wing circles. Similarly, Strasser almost certainly received the bulk of the RM180,000 industrialist Otto Wolff paid to the NSDAP during 1932 on the advice of Schleicher, and may also received smaller ammounts from Paul Silverberg and a few other magnates. Strasser's "socialism" was obviously not taken too seriously by these hard-headed businessmen."
Taken from : PETER D.STACHURA "Gregor Strasser and the rise of Nazism"
SEE ALSO:
WHO WERE THE STRASSER BROTHERS Part 1
WHO WERE THE STRASSER BROTHERS Part 2
WHO WERE THE STRASSER BROTHERS Part 3
By
"War is the father of all and the king of all; it proves some people gods, and some people men; it makes some people slaves and some people free."
― Heraclitus, Fragments
Heraclitus (c. 540 BC – c. 480 BC), hailing from the Ionic Greek city of Ephesus and known as the Obscure One, stands as an unparalleled colossus in the annals of ancient Greek pre-Socratic philosophy. His intellectual legacy, deep and vast, has threaded its way through time, influencing the minds of giants from Plato to Nietzsche, and beyond.
Central to his teachings was the notion that the universe is in a state of constant change, where nothing remains still.
For Heraclitus, fire epitomized this fundamental principle. More than a mere element, fire symbolized the cyclical nature of transformation: creation and destruction, birth and death.
He envisioned a cosmos where this fiery dynamism underpinned every process, from the macroscopic revolutions of celestial bodies to the microscopic alterations within organisms.
His doctrine of the unity of opposites suggests that all the seemingly opposing forces of the cosmos are interconnected and interdependent, establishing a cosmic balance.
At the heart of this balance, Heraclitus posited, was the concept of the Logos, a rational principle that guided the universe's ceaseless change. Despite the apparent disorder and chaos, there exists an underlying order, governed by this Logos.
Heraclitus firmly positions war as the cornerstone of his philosophy, symbolizing the unwavering agonal spirit of mankind. In the realm of men, war and conflict shape destinies, while strife among citizens fortifies the vitality of their cities, and, by extension, their nations.
Yet, for Heraclitus, these fierce conflicts, the perpetual agonizing struggle, are not merely destructive climaxes. They serve as the genesis of new beginnings from which new life is forged. Through these tempestuous confrontations, both men and nations ascend. They may bear the scars of battle, yet these very trials of cosmic combat craft equilibrium, harmony, and innate beauty. War doesn't merely play out in the domain of man; it is a reflection of the great cosmic rhythm of the totality of existence.
Heraclitus' unwavering belief in the all-encompassing role of war not only shapes his understanding of the tangible aspects of the world, but also extends to the metaphysical realm.
True masculine virtue isn't found in the mindless brawls of the pub, but in the wholehearted embrace of this cosmic struggle. The most valorous men possess an innate understanding of the world's intricate agonal fabric, allowing them to align their thoughts, words, and actions with its rhythm. Yet, for many, such profound insight remains elusive, their spirits tethered by trepidation and inertia. The discernment of this profound truth is a gift reserved for the higher-type of man.
The Ent's Marching Song
It’s Stalingrad. How’s that for catharsis! The fall of Stalingrad is the finish of Europe. There was a cataclysm. The core of it all was Stalingrad. There you can say it was finished and well finished, the white civilization. So all that, it made some noise, some boiling, the guns, the waterfalls. I was in it…
Louis-Ferdinand Céline
Taken from HERE
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A selection taken from the Classic work of Iliad engravings made by John Flaxman. Printed in London in 1805.
The description of each piece is the original one.
To see John Flaxman's work on its entirety click HERE
SEE ALSO:
Astronomical References in Iliad
Ageless Racial Archetypes and The Divine Intervention in Battle
The Origins of The Leader Principle
