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‘Proud Races with their Own Style’
Negrified America by Julius Evola
This is the post that inspired me to write A Dread Grace, a book about the unique character of the Western Warrior tradition, composed as that tradition approaches its nadir. I whole-heartedly agree with the tone, scope and concept Evola advances here, but noticed that he—as a cultivated Continental European—entirely missed the significance of boxing as a European art, which, he cast as a negro art simply because it was so presented in the media at the time. In exploring concepts across cultural boundaries we must be careful. For instance Evola has this to say about an American music icon “…the shapeless, screaming mass of flesh that is the negress Ella Fitzgerald.”
I agree in his assessment of the lady. But I would also point to Evola’s nation’s beloved operatic tradition as a herd of screaming fatties as well, so to me, as an utterly non-musical person, opera and jazz, crooned by fat people and raspy on my ear, are identical arts. Of course, those versed in these arts would heartily disagree, even as I disagree with Evola that boxing is a negro art, for it was not, ever, and is not.
For a while boxing was dominated by black men as whites took on the middle class values of the new rich and left masculine rituals to the lower classes. If Evola were alive I am sure we would meet on common ground over this point after I explained to him that the value of boxing as an art was the fact that it could be won in a crude, unskilled manner and therefore forces the intelligent fighter to ascend to the highest levels of disciplined adaptation in order to prevail over the unskilled brute. The foundation of modern boxing in Britain was an adaptation of a delicate form of civilian sword dueling to the question of wrestling, and became an art by which highly trained punchers—using fencing principals—might defeat more powerful grapplers.
The fact that one such as Evola would miss such key spiritual components in the foundation European Martial Art, troubled me enough to take on the subject of the European Martial Ethos in its entirety.
Indeed, at the time Evola wrote this piece, when forced government integration in America was happening side-by-side with a temporary black domination of boxing, it seemed a no brainer to link the two.
The following links establish the post-modern reality that the disgustingly materialistic black American culture he described in Negrified America, has succeeded in emasculating the black race as surely as the middle class values of the American, Anglo-Protestant, liberal elite has emasculated white American manhood.
With the playing field level—in terms of forced decadence—we see the following standings among top heavyweight boxers:
The top 4 boxing slots go to men of European nationality, a group who dominates the top 10 with six to 4 slots over mixed-race and African descent fighters.
And among top heavyweight MMA fighters:
As with boxing, the UFC, the cream of the MMA leagues, has its top 4 heavyweights listed as men of European descent, with a European black in the 5th slot, followed by 6 more white men, a Polynesian, and a mixed race Brazilian. Only 2 of the top 20 UFC heavy combatants are of significant African descent, with one of the remainder being mixed race and one Polynesian. It seems that fighting is still the province of the race that conquered the world between 1500 and 1905.
Once again reality scoffs at the common modern notion that physical combat and athletic dominance are the province of people from the lowest classes, most primitive populations and darkest skins. Like all forms of combat, fighting without weapons is the province of the disciplined mind, which may come in any genetic form, but tends to rise most significantly along the Indo-European Martial Culture Trajectory.
Also, setting aside race, if a black fighter trains and is trained according to an Indo-European combat art and prevails in that art, he is still promoting that art, that ethos, his warrior ancestry, which flows not through the blood of his genetic ancestors but through the toil of his ethical ancestors.
In reference to the Evola article, the scope of it is a plea for true racial and cultural diversity, and a call against human homogeneity.
Check it out at the link below.
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Mesc FranklinMar 29, 2016

To his credit, Evola does mention how he wished the northern amerindian culture of the americas had influenced the europeans more spiritually not the kind of idea one thinks of with a "fascist'..in fact in a way they did but not how he saw it. That is your freedom thesis from 'Stillborn'.
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