The Aesthetics of the New Right With Raw Egg Nationalist (Birth of a New Subversive Art Movement)

Join us as we delve into a riveting conversation with Raw Egg Nationalist, the mind behind the provocative 'Man's World' magazine. In this episode, we explore the unique aesthetic philosophy of the new right, its cultural significance, and the inspirations behind the artistic movement. We discuss the rebirth of men's magazines, the influence of anime and Greco-Roman aesthetics, and the importance of producing engaging and beautiful art in today's sociopolitical landscape. This video is a must-watch for those interested in understanding the burgeoning right-wing cultural scene and its impact on contemporary art and literature. Don't miss this engaging and thought-provoking discussion!

Malcolm Collins: . [00:00:00] Hello everyone. I'm excited to be here. We have a raw egg nationalist with us again. I am so excited. And what we wanted to talk about is, I was looking at his, his, his magazine. I'd never seen a print copy before Man's World. And hold it, hold it up so they can see the anime girls and everything.

'cause you're, it's

Simone Collins: perfection. Yes.

Malcolm Collins: And I'll try to put like one on the screen here if I remember, and you can, you can turn it over to show sort of the back of it. But when I was looking at this, you know, like Shinzo, Abe, big titty, anime girl, Trump like, and missile also just

Simone Collins: the formatting in general though, like, I remembered.

From my, my childhood years, just really loving, for example, wired magazine because just had this incredible formatting and layout and I've missed that. And we're seeing it again here. And it's just so fun to see like this. Well, yeah, I go to one of us where

Malcolm Collins: it's like racist or whatever, right. You see how they did our article in it.

But the reason I find this interesting, and I wanted to focus on it, is the, the new right has developed a very unique aesthetic philosophy. Mm-hmm. [00:01:00] And I think that this covers, sort of perfectly represents it so people understand it's not just Malcolm saying like the, the, the, the alt-right cat girl phenomenon or whatever.

Yeah. No proof.

Simone Collins: This is not just in Malcolm's head. This is awesome and it's here.

Malcolm Collins: And, and I'll also put a sargon of a cod, a tweet here.

死んだ は 初めて 俺 に 伝えて いる 絶望 の 匂い だ 面白い こと 見せよう か ほら こんな に ガチン が 多 すぎて お父さん アカン ドナルド君 は まだ 死ぬ 時 じゃ ない でしょ ア アメリカ 万歳 さよなら ここ

で 絶対 負けない よ ランドトゥライド まで 出ろ だ って まだ サンキュー 言ってない でしょ 一回 も 言って ください おい[00:02:00]

仲良く して この 世界 に 傷ついて いける かな 昔 グレート だった 大きに また グレート に なる

かな あの さ 有名人 なら 誰か の マンコ 掴んで さ そうそう そうそう やらせる で

Malcolm Collins: Which I found amazing where they had like anime style Trump and over the top, and I thought it was the best. But I, yeah. I'd love to just hear your thoughts, how you constructed this and how you think about this sort of aesthetic move because it's really a new artistic movement that is starting and I don't think many people are cataloging or talking about.

Raw Egg Nationalist: Yeah. So I mean, so I started Mans World really by accident. You know, I was, thinking of, well, I mean, I write about masculinity a lot. You know, that's one of, that's my bread and butter. That's what I've been writing about on Twitter and, and [00:03:00] writing articles about, you know, for, for five, five years now actually.

But in the sort of summer of 2020, I was thinking about men's magazines and I was thinking, you know, why are, why are there no men's magazines anymore? You know? So play Playboy is totally paused now. Playboy is so, you know, I mean, they had a transgender centerfold, I think.

Simone Collins: Oh gosh. Okay. Yeah. What was that

Malcolm Collins: men's magazine that I used to love?

Maxim. Maxim. Do you remember this? Okay. So it was little fashioned though. I felt like it was. No, no, no. So, so I gotta talk about this because this is the, a, a historic phenomenon that disappeared, but was like, I think a staple of our childhoods. When you would go to the magazine rack before you get on a plane or something like that.

There was always a, like a, a category. I think Maxim was sort of the main one where we'd have like irreverent, funny articles that were targeted at men. And sort of the point of it was to be edgy and man focused. They even had a TV channel called Spike [00:04:00] TV that was edited this demographic in this format.

We actually know the guy who was one of the, the showrunners for that, who now runs Dad Saves America. But anyway, they, they had shows like. So funny that it, the person who ran the the Man Show was Jimmy Kimmel. But I remember like an example of like a joke they had on the show. Can you believe that Jimmy Kimmel ran this joke?

Is he would have a young kid go around and try to buy alcohol at convenience stores. And when they'd ask him for his id, he'd ask them for their green cards.

. I just need to help old ladies cross the street. Old ladies. Yeah. I'm not old. Sure you are.

Malcolm Collins: Anyway, continue document this.

Raw Egg Nationalist: Yeah, so I was, so, I was thinking about men's magazines and, you know, why Playboy has disappeared. You know, I mean, part of it's something that I remember from my teenage years, you know, growing up things like Maxim, FHM, but also Playboy, you know, and there's this old Chestnut I read Playboy for the article.

Yes. But it's, but it's, but it's true. I mean, I, I say this a lot, but it's, you [00:05:00] know, it's true. Like Playboy used to have great writers NAL, Philip Roth, Norman Mailer, all of these great, you know, great writers of the middle and, and late 20th century, you know, would regularly write for Playboy. Hunter Thompson too, right?

Yeah, yeah. Hunters Thompson. Yeah, exactly. So you'd have, you'd have, you know, it was, it was like a re it was a trendsetting taste setting thing. Playboy. Yeah. You know, it was, it was for like a. Aspiring men, you know, men, men who are, who have aspirations, men who want to, you know, sort of better themselves and, and but also

Simone Collins: cutting edge culture.

Yeah, very. It was on the forefront of change. These were age agentic people.

Raw Egg Nationalist: Exactly. Exactly. And it, it, I mean, it wasn't just about the beautiful women, the native women. I mean, that was a big part of it. That was part of the lifestyle. And obviously that was part of Hugh Hefner's lifestyle. But you know, play Playboy was a cultural phenomenon.

And so I thought, well, wouldn't it be nice if we actually on the right, if we had a new kind of playboy for the, for the new massively online internet [00:06:00] era? Something that sort of combined the best writing on, you know, on the dissident, right. Whatever you want to call it with kind of lifestyle stuff and, and also this kind of, basically like the Twitter four chan kind of aesthetic where you, where you are, you know, so you'd, you'd be mixing like classic Playboy, the classic Playboy layout. You know, I mean, the magazine looks like a classic playboy in many respects, but it's. But it's just, it's, it's kind of bizarre and, and sort of a bit postmodern and, and it has all of this.

Yeah. You are

Simone Collins: really combining like all the new aesthetics, which I really like got this like vintage. Well, no, but

Malcolm Collins: I, but I mean, I think that, that what you're showing there, can you put that closer to the camera so we can really see that Is is a, a artistic style that is unique to this sort of new right movement where you're combining nostalgia with.

Irreverence and, and cultural subversion.

Simone Collins: Yeah. But still like with Yeah, like irreverence, you know, like this is, you know, there, there are puns. It's playful around the world in [00:07:00] 80 Lays is what it says. Yes.

Raw Egg Nationalist: Yeah, yeah, yeah. So that was, that was the winner of, so we had a pulp fiction contest in the magazine, and that was the winner of the Pulp Fiction contest.

I wanted people to write classic pulp fiction short stories racy, exciting, you know, for men. And I mean, the, the winner, the winner is great. All of, in fact, most of the entries that we had for the competition, we had hundreds of entries. They were really good. Wow. It was really very, very high standard.

But I mean, the thing about, the thing about the aesthetics thing, I suppose, is that you know, really it's, it's quite heavily influenced by Bronze Age, pervert by Bronze Age mindset. I mean, he helped mm-hmm. To put. Aesthetic considerations, I think back on the radar in a, for the writing in a way that they weren't before.

You know, I mean, Bronte's mindset as a book is as much about the kind of, the kind of madcap energy of the, of the book, of the style the kind of irreverence, the style of re and

Simone Collins: well, and vitalism too. [00:08:00] So yes, the, the aesthetics is permeated in every grammatical choice that he makes. Mm-hmm. As well as this, like very heavy.

Vitalistic enthusiasm which is somewhat reminiscent of the Playboy days. I think, you know, there's that same sort of enthusiasm for the future in Vitalism. I think he, he tones it up.

Malcolm Collins: So if we wanna talk about Bronze Age pervert, there's a few things to break out here. One is, his name is intentionally, you know, I talked about combining nostalgia, bronze Age with subversion pervert.

It does that perfectly in the way that he constructed it. Yeah. If you look at his writing style, he intentionally does not use correct per periods and everything he correct does lots of run-ons. He doesn't follow the rules. We associate with high status writing. Sure. And post him and you being dox.

We now know, you know, he went to Yale, you went to, what was it, Oxford or Cambridge like? Both. Both bo of both. So you have all of the [00:09:00] criteria that we would associate with access to high class, high culture. And yet when both you and him entered the public community, you did so pseu anonymously to negate the, the classic signs of status.

And then you and, and he more than you to start, you know, wrote in a way that you could almost say was, was vulgar to high status because it could not be used to signal high status. It intentionally subverted everything that we associate with an educated man while presenting ideas in an educated format.

Raw Egg Nationalist: Yeah, I think, I think that's a very interesting way of putting it. And certainly, I mean, you know, just with the magazine then there are fake adverts throughout the magazine. I mean, that's been a, that's been a big part of the magazine from the start, is these kind of fake adverts. So one of them, for example, there's a, I've created a, a kind of a mock coffee brand [00:10:00] that's very like, that's like black rifle coffee, basically.

'cause I, I find Black rifle coffee absurd. And these like veteran owned coffee companies, you know, where they have this like men shooting flame throwers and stuff, and women with big tits and, and it's all like, it's, it's. It's an, it is almost like a parody of itself. So I created this veteran owned coffee company called C Operator Coffee Company.

And it's like basic, basically it's about, it's for like ex special forces guys who have a, who have a C fetish and, you know,

Malcolm Collins: I mean, hold on. This is so. Perfectly capturing all of the things we're talking about here where I, I mean, I think part of it is like Americana and over the top Americana. And so here you're taking the idea of consumerism and over the top American consumerism that is inauthentically sold to.

Because I, because I think, you know, the point of this is to is to, is to capture the [00:11:00] inauthenticity of the way consumerist trends have gone. As, as sort of art. And what's funny about, you know, hearing you do this is, is you would look at something like this and if you were studying this in art history, you would associate this with a lot of the classic artistic movements of like the seventies and the sixties and stuff like that.

It's like, oh, there's subverting you know, like over the top inauthentic advertisement. Whereas today, because the left controls so much of the advertising and everything like that, you know, and we're like, they're, they're subverting the cringe ness that comes from corporations trying to market to people using and, and, and you remove any authenticity from that by making it entirely fake.

Raw Egg Nationalist: Yeah.

Malcolm Collins: Which is like really satisfying to engage with, but continue. Sorry, I'm, I'm just sort of like analyzing that's what I wanted to do. Grappling

Simone Collins: in the brilliance of it. We can do that. That's why we're here today.

Raw Egg Nationalist: Yeah, so I mean, so I mean, the, the fake adverts are a really, really big part of [00:12:00] man man's world, and they have been, it is actually, it's actually a bit of a burden for me coming up with, with these new fake brands.

Like every, every, every issue I have to come up with something new and I have to top what I did in the pre, the previous issue. And, but there are some long running ones like Duck operator coffee company, and yeah, we just, we just do, I mean, it, it's integral. It's not filler. That's the other thing as well, that that's important, you know, it's an integral part of the actual package.

You know, it's, it's, well, I think anyone who grew up reading

Simone Collins: magazines half or at least a quarter, read them for the ads because the ads have been like, they're sometimes the, the best part of many magazines. They're what many brands invested so much creative energy into creating. I like, yeah, it. Now also ads are just so awful.

And most of the magazines I've looked at, it's like for SaaS, software and stuff, like, it's not relatable, it's not creative, it's not fun. It's not visually, visually interesting. So, you

Malcolm Collins: know, you know, what'd be fun is the, the gayest children's [00:13:00] clothes line ever. Like we, we've been voted by by like Queer Magazine and Pride, the gayest children's line ever.

And like just try to overdo the top when they had like the the, the, the target scandal and the the Bud Light scandal. I think, I think that something funny could be done, but I think looking at the ways that corporate culture has gone over the top was in the last cycle and then subverting that mm-hmm.

Is, is really, fun. Another thing I find about the artistic style that you've chosen here. Oh, I should

Simone Collins: probably too. Sorry. I found the page. Show that. Yeah.

Malcolm Collins: Oh

Simone Collins: yeah. It's great. Like they're, they're, they're great. They're nicely formatted.

Malcolm Collins: Bag of Cook operated coffee company, signature, K blend, cup operated coffee.

I love it. How it says company with a K. Yeah, of course. They're very, very, see that here. C Operator is a proud cook hold owned company.

Raw Egg Nationalist: And then, but on the other, on the other page, on the facing page. Then of course you've got the cuck beard. The, yeah, the Jack, the Jack Murphy Cuck beard.

Malcolm Collins: Beautiful.

Oh, beautiful. [00:14:00] Oh my God. Wait, wait, so hold on. What's this whole cuck Jack Murphy thing? I don't know. This is this story. Oh

Raw Egg Nationalist: God, this is, I mean, this is a, this is a rabbit hole. So Ja. Jack Murphy was this like masculinity guy who had a masculine, you didn't die. I

Malcolm Collins: remember. Continue. This is interesting.

Raw Egg Nationalist: Yeah. I mean, I, I rere kind of regrettably, I, I actually went on his podcast early on when I didn't really know who he was, but he he

Malcolm Collins: seemed fine enough other than the holder thing.

Raw Egg Nationalist: And, but yeah, he, he had this he had this masculine fraternity called the liminal Order, and he had a meltdown on a, on a podcast because somebody brought up the fact that he had written an article some years before about cadry, about sending his girlfriend off to have sex with random guys from Tinder.

And then after this meltdown, it came out that he had actually been like a cam, a cam guy. And he'd Wow. Stuck stuff up his, up his bum on camera and stuff. And there were videos and they were posted and it all kind of imploded. So that's, oh. [00:15:00] So that's where, that's where the beard comes from. That is my, I'm,

Malcolm Collins: I'm deeply, I mean, look, I, I kind of feel like I wasn't born with like, embarrassing fetishes.

Like I, I am, I am deeply happy that I do not get turned on by that. I'm just

Simone Collins: glad he monetized it. You know what, that's, if you, if you do it for profit, I monetize it. You're so differently about it. Yeah.

Malcolm Collins: You can make a lot of money doing OnlyFans and stuff like that. You know that the couple who got the the squirrel was killed.

Peanut, the squirrel and all that. Yes.

Raw Egg Nationalist: Mm.

Malcolm Collins: They were making $80,000 a month on OnlyFans.

Raw Egg Nationalist: And they were using, they were using the death of the screw weren't there as a funnel as well. It was like, yeah. I

Malcolm Collins: don't think they, I bet they were. I mean, you gotta, you gotta, it doesn't hurt Malcolm monetize everything.

Right. Yeah. Oh, there's something about the, the, the ghost of the squirrel or something like that could be a fun company thing. Just like the, I don't, I don't know. I'm just trying to have fun with this, but I I'd love your thoughts [00:16:00] on why the modern Right. Has adopted the aesthetics of things like anime.

I, I mean, my thesis would be is that anime was one of the last, like if you look at Japanese culture, it was one of the last bastions of mainstream media that was not affected by woke ism because woke ism took a while to get there. There's still fan service in anime. I, I would say it's still largely exempt.

They still, they still have like openly prenatal list shows. So you have that, you have the idea that anime was considered low culture. So in the same way that like writing poorly could be a sign of, I'm not playing into your cultural game using big TTY anime, girls can do that. But I'm wondering if there's anything else or what your thesis is on this.

Raw Egg Nationalist: Yeah, I mean, I, I think you've, I think you've nailed a lot of it with the, you know, by talking about the authenticity of, of anime. I think that anime is fundamentally like an authentic expression of Japanese culture, largely untouched [00:17:00] by the west, or at least the way that, the way that anime kind of relates to the west is interesting and it's not kind of colonized by the west so much, you know, in a way that often a lot of other foreign foreign cultural products are or have been since the second World war.

Yeah, I don't, I mean, I just think intrinsically, you know, like the subject matter of so much anime, it's just the kind of stuff that guys like. I think there's guns, swords, you know, har heroes, harem, that kind of stuff. Lots

Malcolm Collins: of harems. I want, I want at least Simone. Why do you deny me my harem? I, I, I, it's, it's Malcolm Harems are for closers.

Harems are Okay. Okay. Okay. I'll work on it. I'll work on it. No, but I, I think that you're right about this. One of the things, and it, you know, anime, I think one of the interesting things about it is I think it fulfills some male fantasies in ways that are almost like subversive, where a, a common trope within anime is.

A [00:18:00] girl who is, you know, phenotypically young around a guy, and I've noticed that a lot of these are actually showing the girl and the guy in a father-daughter role for a society that has so lost the idea of father-daughter relationships that the only way it can think of a guy being around a young girl as in sort of this perverse context.

And I've always found that to be deeply sad, where it's very obvious to me if you watch one of these shows, oh, this is trying to give you the feeling you would have if you had a daughter and you were raising her damn and you were protecting her, but it's not his daughter.

Raw Egg Nationalist: I mean, I think, I think that that anime in general deals with a lot of, and Japanese Japanese culture and Japanese media more broadly I think deal with actually a lot of, a lot of subjects that actually would get swept under the carpet would be very difficult to be depicted in Western media. I mean, you know, I think the Japanese have a very different idea about, well, there's a Jonathan Bowden essay actually [00:19:00] about the kind of difference between Japanese and European culture where he says, you know, like, we have this idea that kind of shameful or difficult faults, difficult urges have to be repressed and hidden away, whereas actually you to make them safe.

Whereas actually the Japanese think that the best way to deal with them is to depict them and to bring them out into the open so that people can see them and actually recognize that they exist. And so, I mean, you do get, yeah, I mean you do get a lot of obviously you get some pretty extreme stuff in anime and but I think that that has a, has an appeal. I mean, it has an appeal beyond simply being appealing to like perverts. You know, it actually has an, actually has an appeal to people because it, because it depicts aspects I think, of the human experience that are actually either taboo or perhaps, you know, just aren't depicted in, in Western media in the same way.

It, it's a very co it's a very complex art form, actually. Anime, you know, you can laugh at anime and you can say, oh, it's, you know, it's these school girls in you know, [00:20:00] with, with short skirts on and, and you know, all this kind of like silly stuff, sailor Moon. But actually it's really not, I mean, it's really a very, very deep art

Malcolm Collins: form.

The vast majority of media I watch is anime. I, I think, no, it's, it's

Simone Collins: sometimes it's deep, sometimes it's just girls who are ponies who love to race, but, right. For most. Yeah.

Malcolm Collins: Well, and, and, and the ways that it can subvert. I mean, we have a whole episode. I, I encourage people watch it 'cause it's an episode that I really like is that we've done.

On Urin Log and other over the top prenatal list anime where Tism and, and environmentalists being treated as villains in Gerin Log, which is one of the most famous animes ever made. The core bad guy believes that Earth can only have so many people on it. Basically, it's, it's against the concept of like environmental thresholds.

And, and they're presented as like Captain Planet villains. But I, I note here that the new rights aesthetic, when it takes anime, it doesn't use it in the way that Ja, the Japanese use anime. So the [00:21:00] Japanese use anime as sort of a broad cultural, way of expressing things when the new right takes the anime aesthetic.

What it does is it overt, tunes it with vitalism to be like over the top as you saw on the video, or as you, you know, if you put up the cover of the, the, the, the, the piece Simone. Like, it's very much like vitalism, like, like life, like, you know, the missiles coming outta the mouth and everything. Like so much is happening.

Yeah. And then so

Raw Egg Nationalist: that's, so that's an image of, so that's supposed, you know, that's Trump, that's the fight, fight, fight image, basically.

Malcolm Collins: Yes. And what was the thought on the two things on the side here? I'm not familiar with these.

Raw Egg Nationalist: I just, I just got, I just said to my design guy, look, I want an, I want an animate.

I want an anime Trump fight, fight, fight, you know. Do do whatever you want to do. And he, he came back with this and it was, it was perfect. It's

Simone Collins: perfect. And with, with Shinzo Abe, who, you know, clearly saved his life as we had to explain to as, as confused Italian the other day yeah. I

Malcolm Collins: had to, the Italian reporter through, at our house this weekend, I had to explain to them how Shinzo [00:22:00] Abe saved Trump's life.

And they're like, wait, do people like believe this? And I go, well, like emotionally we believe it emotionally. We don't need to actually believe it

Simone Collins: emotionally. I mean, there's, you know, the difference between emotional belief and real belief is, is actually pretty vague. I wanna know what the negative aesthetic prompts are for the new, right.

What, what is the aesthetic antithesis to the new, right. Because I mean, we've got, we've got anime, we've got Greco Ruman influences, we've got 1940s to 1960s aesthetics. I'm digging it. We saw there's like a bit of a slightly fascist sci-fi vibe as well, which I'm really loving. Sure. Yep. But you know what is not, what is not new, right.

Aesthetics.

Raw Egg Nationalist: So I would, I would say that the new right is kind of ideologically and aesthetically rebelling against the kind of, on the one hand, like the William Buckley I kind of conservatism. So like Tweed Jackets and, I mean, there's a pla there's a place for prep in the new right? Absolutely. Yeah.

Like the, the Ivy League style, classic prep, all that kind of thing. There's always a place for it.

Simone Collins: Yes. [00:23:00]

Raw Egg Nationalist: Yeah. Yeah. I mean, it's classic, it's Americana. I mean, yeah, when it's done well, it's done well. But there's a kind of, there's a kind of like, stayed conservatism that's represented by the kind of the kind of William Buckley style of conservatism, you know, standing a thwart history, yelling stop and all that, that kind of stuff.

So like,

Simone Collins: yes. To Kennedy Prep? No, to Country Club Prep.

Raw Egg Nationalist: Yeah. And just, and just to the kind of like closet closet homosexual kind of, yeah. Conservative lavender Mafia. That kind of mega

Simone Collins: church polo shirts and khakis.

Raw Egg Nationalist: Yeah, sure. Yeah. So, yeah, exactly, exactly. The kind, the kind of like. Especially that you might associate with like a university conservative club.

You know, where it's like, it's a bunch of, it's a bunch of dorks trying to look like preppy. Yeah. And they never get any girls and there's never Yeah. There's nothing sexy. The Pink Vineyard Vines

Simone Collins: T-shirt. Yes. Or I mean, color shirt. Yeah, yeah, yeah.

Raw Egg Nationalist: Something like that. But then also what you've got as well, I think is you've got a revolt [00:24:00] against the kind of like I was saying with C operator coffee company, like that kind of.

Silly kind of, it's basically conservative, like beer and boobies kind of masculinity. Mm-hmm. I think that's what Cernovich calls it, you know, where it's like, I like cigars, I like whiskey. Yeah. I use, I use man wipes on my face. You know, it's like there's this whole kind of, there's this whole kind of really, really kind of debased kind of conservative aesthetic that's built around like the Second Amendment beer man caves and all this kind of stuff that's irreverent really kind of, really kind of sad.

And, and, and, you know, kind of like, doesn't actually have any genuine, genuine energy to it. And all of these guys who know are kind of ruled by their wives and, you know, only allowed to go in the man cave at certain times.

Simone Collins: Oh, yeah, yeah, yeah, yeah. All that kind.

Raw Egg Nationalist: It, it, I mean, the, I would say yeah, the, the, the, the negative prompts or anything really that isn't [00:25:00] kind of, sexy and young and, and that doesn't kind of have a, have a genuine organic energy to it.

'cause a lot of

Simone Collins: you, another thing that occurs to me actually I was thinking about this, not just when I was looking at, I think it was like New York Times or some publications page, or sorry, illustrations that they made for their authors. And they were just hideous illustrations, like, just really unflattering.

And then I was also thinking about Mary Harrington's, one of her most canceled opinions that at least she told us at at the time, who knows what new thing has been like disagreed upon. But she's, she had this hot take that children's book illustrations that are modern. They're, they look terrible. I don't know if you've seen them recently, but they're incredibly ugly.

We're kind of like this low key. Propaganda, normalizing lower achievement ugliness. Yeah. Mediocrity. Yep. And I, I think that that's, I mean, that's just another thing that's so absent from, from the page of this magazine. Everything is gorgeous, [00:26:00] actually wanna highlight everything is gorgeous.

Malcolm Collins: There has been a thing was in leftist art for a while mm-hmm.

To intentionally amplify the art.

Simone Collins: Yeah. And to, yeah. Like, why, why, for example, for like op-ed contributors, do you need their illustrated portraits to look, look ugly? Well, I'll explain to you why I, I've

Malcolm Collins: gone over this before, but it's important to understand how this happened. So what happened is, if you go to the 1980s or the 1990s the core emotion that conservatives use to motivate behavior, voting, everything like that was discussed.

Mm-hmm. This is when you had the Christian majority in America and they were like, like gayness. Isn't it gross? Ew. Like, doesn't it generate disgust in you? And then we as a civilization sort of moved a. Past just not doing things because of disgust. Like that's what Mother Teresa largely represented. Oh, look, the lepers disgust me, but I understand that that's just an evolved emotion that's meant to protect me from disease and blah, blah, blah, blah, blah.

Anyway, so we moved against disgust and an artistic leftist movement then became about elevating things that were disgusting for their own sake. I think is, is, [00:27:00] is is one thing we saw here. The other thing that we saw at the same time was trying to break the male idea of what. Beauty looked like. And I think that this is in part why within new right.

Things like that, you have the, the, the trio, like Trump, hold on. I find this insulting, but it's not a

Simone Collins: female ideal of beauty. I mean, I'm kind of No, no it's

Malcolm Collins: not. But did the, what I said, a female idea of beauty, like the big titty enemy girl. Okay. Like this is an idea of feminine beauty that the left has completely removed.

Mm-hmm. If you look at their characters, we've noted that like ironically, they have taken female characters and they've like made them sort of masculine book looking and removed their breasts. And I'm like, you've just made them look underage. Like this is not okay. Like, you look at like Sherah or something like that, like the remake.

And so I, I think that it's, it's a, it's a revolution against these two things.

Raw Egg Nationalist: See, I mean, I, I think, I think it's very deep. I think this kind of war on beauty is actually, I mean, you see it in architecture, you see it in mid 20th century. Oh [00:28:00] yes. Modernism, I mean. Ugliness, brutal brutalism. I mean, brutalism was called brutal.

Absolutely. It was called brutalism. Oh, yeah. And not subtle, you, it was u it was used as an ideological, literally an ideological hammer to crush people with. Mm-hmm. You know, I mean, there's a, there's a reason why basically all of the, all kind of communist public buildings are hideous. Because, I mean, they tell, and, you know, Roger Scru has written about, or wrote about this at a, at great length, and, and others have too.

You know, it, it's a way of, among other things, crushing individuality and crush crushing aspiration. It's like, you know, you make people live in an inhuman environment where they d where they're not surrounded by beauty. And it's demoralizing. It really is. It really does. It really does crush you. And I think that there's something, you know, there's something about this, like you say, children's illustrations.

There's something about this in movies as well. Mm-hmm. You know, where the heroine is never beau. I mean, snow White is. Snow White is not a beautiful woman anymore. Snow [00:29:00] White is, you know, snow White is one of these strange creatures.

Simone Collins: Well, and she's no longer the fairest of it. All of, of us all. She, she's, she's the most

Raw Egg Nationalist: communist.

Simone Collins: Yeah. In most equal distribution. This is not about looks anymore,

Raw Egg Nationalist: but it's, but exactly. But that's, but I mean, I think that in large part, it's about eliminating particular forms of aspiration. Mm. Particular visions of, of like the good life. You know, what, what, what is it, what does it actually mean? What should you, what should you strive for?

Should you strive to be unique? Should you strive to be, should you strive to be beautiful? Should you strive to improve your appearance? Or should you, should you, you know, accept that you are just one of 7 billion people on the planet, you know, all of whom are, all of whom are deserving of exactly the same base level of like material subsistence and, and nothing else.

So, I mean, I think it's. I think it, I think it's been happening for a long time and I think it's, I it's not trivial. Ugliness is not trivial. Yeah. And surrounding, surrounding people with [00:30:00] ugliness, cocooning them in ugliness is actually, I think, is a very, very powerful propaganda strategy. And it works.

It works.

Malcolm Collins: Yeah. I I, I wanna point out here you know, one of the artistic pieces that I think has been really critical to the formation of the sort of sci-fi, you, you could say, pseudo fascist vibe of, of new right art that Simone was talking about is Star Strip troopers. Mm-hmm. And when Vander Hoven was putting that movie together, I'm talking about the movie, not the books.

Like, we have an episode on the movie where I'm like, this movie is like the left telling on themselves. Like, this is a, a democratic society with a black African leading it. And they freak out about it because people are expected to pay some price to vote. They're expected to do something to get back to the state.

They're like, if anything is required of me, it's the worst thing ever. But anyway within Search Troopers, when Paul Vander Ho was making it, and I I view it as a, as a almost a perfect piece of art for what it means to be right leaning today, because it was a leftist who was creating this. When he created it, one of the [00:31:00] questions he asked himself was okay.

How will I cue people that this is an evil government that you're not supposed to wanna emulate? And what he said to himself is, he said, I thought everyone would know because I chose only beautiful white actors to play the main parts. And he, he, he thought that people, when they saw all of these attractive people would know that it was supposed to be evil because only only in an evil government would you have only attractive people.

Raw Egg Nationalist: Yeah. It's, it's interesting as well because I mean, in the book the Robert Heinlein book, then the main character Johnny Rico is actually, I think from the Philippines. And he's not white. I. Actually in the,

Malcolm Collins: no, in the movies. He's not white either. He's from Argentina.

Simone Collins: Yeah. Buenos Aires. Yeah. Whatever, though.

I mean, yeah, it is, it is telling.

Raw Egg Nationalist: But yeah, I mean, it's a, yeah, I mean the, then the Starship Trooper's discourse of course rolls on on Twitter, you know? Right. Oh, you are supposed to, you are supposed to em empathize with the bugs, you know? [00:32:00] And it's, and it's an, it's an ama this, this kind of ridiculous media literacy kind of meme, you know?

Simone Collins: Mm-hmm. And

Raw Egg Nationalist: it, it's very telling, you know, that actually the communists choose the bugs. They choose the, the soulless bugs that literally tear humans, limb from lemons suck their brains out via feeding tubes over, you know. Attractive, high achieving say, because they a

Malcolm Collins: democratic united human planet with, with like the protagonist from South America.

The leader of the world is from Africa. Sky Marshall to Hot Maru. Like what, what? And African woman, by the way, sky Marshall to Hot Maru. But I, I'd point out here that, that when he's saying this, you might think, oh, they're not actually saying, oh, the bugs, no, like search on Google. Mm-hmm. Like, yeah, they're star Starship troopers.

False flag attack Starship troopers. Like, were the bugs. Actually, the good guys, like people actually think this, and this was part [00:33:00] of the authorial intent that backfired so hard.

Raw Egg Nationalist: And what's, I mean, what's interesting as well actually about the film is that Johnny, Johnny Rico the main character in Casper Manian, he's from a very prosperous family.

Mm-hmm. But they're not sit, they're not citizens. Yeah. They're not cit and they don't want him to do military service. But actually, so you've got a society where you can be prosperous and have a wonderful life. Yeah. Without political participation, I mean, it, it doesn't, it's not, yeah. I mean it's really, it's really not a simple, a simple, it, it doesn't imply, 'cause

Simone Collins: normally in the, in the fascist worlds, if you are not fully bought into the governmental system, you are suffering.

You are in an underclass. And like clearly that's not the case. Clearly people have freedom. Yeah. It's wild.

Malcolm Collins: And it's the freedom that instigated the war. It was the fact that we allowed for religion, remember it was started by Mormon separatists settling on a planet they weren't supposed to be settling on.

But the very fact that Mormon separatists were able to get to a point where they could do that in opposition to the government. And keep in mind, we know this was an opposition to the government because we know they were separatists. It was not the government that started [00:34:00] this war.

Raw Egg Nationalist: Yeah. Yeah. I mean, it's a, yeah, exactly.

It, it doesn't, it doesn't really repay this kind of ridiculous heavy handed kind of Marxist retelling that the left wants it to. It's a, it is a very, very interesting cultural artifact actually. You know, I mean, I, I remember watching Starship Troopers when it came out in 1999, you know, I was 12, and it was the cool, it was the cool, it was the coolest thing ever.

You know, I, I just, I loved it because of the, because of the fight, you know, the battles and stuff. Yeah. Denise Richards obviously, and, you know, but like, it's actually, I mean, as, as a, as a piece of its time, as a, as a kind of, as a cultural artifact, and it's actually much more, much more complex than than just being a, you know, just a sci-fi film where there are big battles and stuff.

Malcolm Collins: Yep. Well, I mean, recently you had the hell divers too come out. Mm-hmm. Which, yes. You know, mimicked a lot of the art and ideals from this. And I think a lot of, one of the reasons it did so well within the gaming space is it came off as right coded art.

Raw Egg Nationalist: Hmm. Yeah,

Simone Collins: people want it. There's, [00:35:00] there's, I think that backlash, that desire to fight against the ugliness and to feed into this vitalism is 100% there.

It's, it's really the time for man's world. It's time for this movement to, to rise. And I mean, at least we have the vibe for it now.

Raw Egg Nationalist: Yeah. I, I think so. I mean, I think, I think young people are tired of being stamped on, and especially, especially young men. I mean, it's not, it's not just young men, but I think, I think more than anybody else, it's young white men in particular who Oh, yeah.

You know, told, you know, you can't, you can't well, you are a bad person and you can't trust any of your innate desires. Anything that you want, you know, it's illegitimate. You have to change, you know, you are stamped with, basically with original sin. And, you know, it's being, it's being rejected across the western world.

You know, it's not just in America where you are seeing zoomers and Gen Alpha being, you know, more and more right wing. Than previous generations. It's Germany as well. You know, [00:36:00] you've got attractive young people singing Outlander rouse to the tune of Gigi Dino's au or whatever it is, you know?

I mean, it's like, it's it's a civilizational thing actually. Mm-hmm. There is, there is very definitely this kind of youthful, irreverent energy that's really surging up. And I think the older, the older generations don't actually know really what to do with it. But, you know, you, you saw this even actually with the, the Trump tariffs thing, you know, when everything looked like it was going to s**t.

And you know, you have like young people saying, well. I got nothing from the system. I get nothing from the system. What, what buy-in do I get from the system? So if Trump wants to burn it all down with these crazy, you know, tariffs, whatever, then, then let him. I mean, that's the, there is a kind of mad cap.

There's a kind of mad cap energy, energy to this and a kind of, you know, accelerationist desire. Oh, continue. No, that was, no, that was it. That was it.

Simone Collins: But when all you have is debt and when, when all you have is [00:37:00] nothing on the stock market, you have no problem with this. If there's inflation, it's gonna be a lot easier to pay off that debt.

And it's kind of satisfying to watch all the smug people who've acted as though they worked so hard and really didn't to get so much that you can't even get when you work twice as hard. Sure stuff for a little. It's very satisfying, if anything.

Malcolm Collins: And I know the tariffs paid off. You know, he, he canceled most of them.

76 countries are now at the bargaining table. Delayed. Delayed, yeah. Delayed. But, but he is given them the opportunity to negotiate without the big economic. And then China went against us and now has a 125% tariff on them. Which I think can rally the rest of the world around China, which has been treating the rest of the world very unfairly for a long time.

Mm-hmm. And I think that this is the sort of vitalism that people wanted to see from the White House. They wanted to see big moves. Like even if he, he goes in and he goes out, they just wanted to see the White House do something. You know, it feels like when Biden is in office, nothing was happening.

Raw Egg Nationalist: Just, yeah. Well, yeah. Well, I mean, look, I mean, Biden was. Biden was a zombie. I mean, Biden really was a zombie. [00:38:00] Biden was a, Biden was, he

Malcolm Collins: was literally puppeted by the deep state. Yeah. Like, I love how we, like, at first it was Trump is like, I'm fighting against the deep state. And everyone's like, you're crazy.

This is the conspiracy theory. And then we learned that like Biden hasn't been making decisions for like years and, and, and that the Democrats like didn't even hold primaries. And we're like, oh yeah. I mean, well obviously the deep state handled all that, but, you know. Yeah. No problem.

Raw Egg Nationalist: Yeah. Yeah. Cra crazy.

And I mean, you know, and during the election campaign before Biden dropped out and you know, you had Axios, they did a, they did an article saying, meet the Biden oligarchy where it was like, yeah, these, these are the people who are actually making decisions for Joe Biden. It's his wife, it's his best friend, and some other people.

And you're like, well, you know, who voted for this? Who voted for an oligarchy rather than an actual executive? You know? 'cause that's what the president is, I mean, the president is the executive, it's the executive function. But, but actually it's been, it's been transferred to an oligarchy. So, yeah, I mean, I, I think that the, the [00:39:00] contrast between Trump, I mean, okay, Trump is an old man.

Sure. But, but he doesn't have old man energy. I mean, he's not, he's not Joe Biden. I mean, Trump is the most insanely youthful 70 whatever old, 76-year-old, however old he is, you know? And he really has captured. It really has captured, you know, with his meme power because he, I mean, he's just, you know, he's a, he is a phenomenon there, isn't it really Anybody like him?

Simone Collins: Truly, yeah.

Raw Egg Nationalist: And so, so yeah, I mean, now, now is, now is very definitely the time for a different vision of, of not only rightwing politics, but also of rightwing culture more broadly. And, and, you know, one of the things that's very important about man's world is that about the vision for man's world is that, you know, right Wingers over the course of the 20th century retreated basically into economics.

They seeded the, they seeded the entire cultural ground to their enemies. They said, you know, you have the universities, you, you make all the art, you make all the television programs. [00:40:00] We, we'll just have like liberal and neoliberal economics, you know, we'll make sure that the free market reigns and that will mean that we have a right wing society if we have free market economics.

Well, actually it doesn't actually. It doesn't. And you know, we've learned over the course of the 20th century that it's one of the, there's been one of the biggest mistakes actually, that the writers made to seed so much cultural territory to its enemies to let them have art. You, you just have art, you have, you have Hollywood, you have you have music, you have everything, you know, and we'll just have economics.

So, so yeah, I mean, I think it's, I think it's important, you know, to have, to be producing culture, to be producing innovative culture, not culture that's stayed and boring and that doesn't appeal to young people, but actually culture, that's exciting. And you know, because there's nothing exciting about the left anymore.

I mean, the left is, the left is ruled by committee. It's ruled by, you know, committees of women and, [00:41:00] and obese minorities and dis disabled people. And you know, like there's nothing in that that's exciting for young people. I mean, yeah. And, and leftist art, you know, leftist art has, has totally abandoned the kind of core mission of art.

It's

Malcolm Collins: pleasant. Yeah. It's, it's, it's actively unpleasant. And that's the thing that I find when I look at something like man's world, is that it is actively pleasant. Like, it, it like, like looking at it as visually engaging and, and, and makes my brain like, I, I think it's interesting that I'm like, oh, this makes my brain feel pleasure.

When I look at this, I feel vitalistic, I feel excited. I want to look at more of it. And it's so, different from the other. Like if I go to an art museum these days mm-hmm. It's just like depressing.

Simone Collins: Yeah. I, I just come out, we don't anymore. It's too depressing. Yeah. Come away feeling. Well,

Raw Egg Nationalist: when, when we were in, when we were in Miami, so we were