Jan. 1, 2024 - Bannon's War Room
48:50
Participants
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| Speaker | Time | Text |
|---|---|---|
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unidentified
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Should old acquaintance be forgot and never brought to mind? | |
| Should old acquaintance be forgot and days of old | ||
| For auld lang syne, my dear For auld lang syne We'll take a cup of kindness yet For auld lang syne | ||
| We to heaven a-boot the bridge, and to the government's high, We forward, learning our weary foot, sing no lang syne. | ||
| For auld lang syne, my dear, for auld lang syne, For Auld Lang Syne, my dear, For Auld Lang Syne, We'll take a cup of kindness yet, For Auld Lang Syne. | ||
| And here's a hand, my trusty friend, And here's a hand of thine, We'll take a cup of kindness yet, For Auld Lang Syne. | ||
| For auld lang syne, my dear! | ||
| For auld lang syne! | ||
| O Lang Syne, my dear, O Lang Syne, we'll never part, | ||
| O kindness yet, O O Lang Syne, O O Lang Syne, my dear, | ||
| O O Lang Syne, we'll take a cup, O kindness yet, | ||
| O O Lang Syne. | ||
| Thanks for watching. | ||
| 🎵Outro music plays🎵 | ||
| This is the primal scream of a dying regime. | ||
| Pray for our enemies. | ||
| Because we're going medieval on these people. | ||
| You're not going to free shot all these networks lying about the people. | ||
| The people have had a belly full of it. | ||
| I know you don't like hearing that. | ||
| I know you try to do everything in the world to stop that, but you're not going to stop it. | ||
| It's going to happen. | ||
| And where do people like that go to share the big line? | ||
|
unidentified
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MAGA Media. | |
| I wish in my soul, I wish that any of these people had a conscience. | ||
|
unidentified
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Ask yourself, what is my task and what is my purpose? | |
| If that answer is to save my country, this country will be saved! | ||
|
unidentified
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Warren, here's your host, Stephen K. Bass. | |
| It's Monday, 1 January in the year of our Lord 2024. | ||
| Finally here, this historic year, and I want to kick it off. | ||
| We've got an incredible show today. | ||
| Dave Brat, He's my co-host for the next couple hours. | ||
| Dave, thank you so much for joining us. | ||
| Really appreciate you kicking off the year here with The War Room. | ||
| We've got Raheem's going to join us momentarily. | ||
| We've got Ben Harnwell, Joe Allen, a whole cast of characters, the stock company of not John Ford, but the War Room are going to be here to kick off 2024, right? | ||
| But I have a very special guest we want because it's a very special year, not just in his life as an artist, but the nation's life as far as art goes. | ||
| Saban Howard joins us. | ||
| Saban, this really historic It's not even a statue, I don't even know how to describe it, but kind of honoring the service and sacrifice of the troops in World War I. It's kind of stunning. | ||
| Nothing like this has been done. | ||
| It's coming to the nation's capital. | ||
| You've been working on this for many, many years. | ||
| We've been following it very closely. | ||
| Just walk us through what happens this year as far as the installation goes of this magnificent piece of art, and then how are you going to bring it to culmination, sir? | ||
|
unidentified
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Well, thank you, Steve. | |
| A miracle happened. | ||
| A literal miracle happened. | ||
|
unidentified
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We are culminating after nine years. | |
| We started this back in 2015, and I got through the Commission of Fine Arts in Washington. | ||
| It wasn't supposed to happen. | ||
| And here we are, 60 feet of lifting our consciousness as Americans to create an art that is for the people. | ||
|
unidentified
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I'm returning art back to the rightful owners of who it should belong to. | |
| This uplifting sculpture with 38 figures called A Soldier's Journey. | ||
| It is about a man, his father, who represents America, he's an allegory for America, who leaves his family, leaves his daughter and his wife, enters into battle, leads his men in a charge, and from that horrific event, | ||
| is shell-shocked and transformed just like our country was a hundred years ago returns home to hand his daughter right there you can see it on the screen that daughter is the next generation's world war ii he hands his daughter the helmet and i am so proud to make this sculpture and have completed it Because we gave it our all. | ||
| We made something that is truly magnificent, that speaks about what we can be and rising to the occasion. | ||
| And it will be unveiled to the public on September 13th at Pershing Park, 150 yards from the White House, September 13th of this year, 2024. | ||
| And at that unveiling, we are going to do a candlelight ceremony I am bringing together a lot of veterans because this sculpture is specifically also for the veterans who have served this nation historically and today. | ||
| It is about those people that have sacrificed their souls, given everything to their country, and that is something that is truly sacred. | ||
| There is nothing more noble than to give oneself to service of one's country. | ||
| And so I took this. | ||
| This was my mission. | ||
| I started sculpting this back in 2019 in August, and I gave this everything I had. | ||
| I've been sculpting for 40 years, and I made something that will make our country, our veterans, and your regular everyday Joe proud that this piece is right here by the White House. | ||
| It's returning art to us. | ||
| It's taking it away from the elites and giving it back to the people, and that's who should be honored. | ||
| You know, I was talking to some people the other day. | ||
| Really, I don't want to say throwback, but you don't see monuments like this anymore. | ||
| You don't see art like this anymore in stone, particularly over the last couple of decades. | ||
| You've had a couple of major things from Eisenhower to MLK to the Vietnam, but nothing that's gone back and really harkened back to the power of like, for instance, I think the most powerful, until yours is installed, the one of the most powerful is General Grant in a mud splattered uniform in front of the nation's capital with those horses just in complete movement. You can feel the intensity of combat right there and what it took to defend the | ||
| capital. How is it so that we've gotten away from that? I think that's the question. This is a huge event for us because you're returning art to the people. But how did we get away from that and get away from the power It crept in. | ||
| General Grant's, the statue of General Grant and the art around the cavalry and the men with the artillery there and yours. | ||
| How did we wander away from that? | ||
| It crept in. | ||
| It didn't happen overnight. | ||
| This is really ironic because I'm making a sculpture that celebrates our nation and our men and America from a war that ended 100 plus years ago in 1918. | ||
| And at that moment, if you look historically at how many people died, it's a huge number, it's 22 million people. | ||
| So with that in mind, How could you go on believing that there is a divine order? | ||
| There's a change in the zeitgeist of the world, and that change goes from one of a divine order to chaos, alienation, and a sense that there is nothing that is a fabric that holds us all together in a unified universe. | ||
| It makes man Change his mind about who he is and how he sees himself. | ||
| And so that was the beginning of the end for figurative art. | ||
| Because if you look at where figurative art came from, it came out of the Greeks and the Romans and then the Italian Renaissance. | ||
| And when our country began, we were actually looking at neoclassical art, which was out of the Roman civilization and culture. | ||
| And that type of art celebrated A unification of the universe and the way the figure was put together, because of the anatomy and the visual impact that it could give the viewer, it had a real clear sense of God, universe, and a sense of a divine order. | ||
| That is gone. | ||
| So what happens? | ||
| The art world changes. | ||
| Because the art world is literally tied to real life. | ||
| They're inextricably tied together. | ||
| And what you see then for the next hundred years, up till today, is an elimination of the figure. | ||
| So this is truly a miracle. | ||
| We've made a monument that has 38 figures. | ||
| Each one of those figures is an individual being that was sculpted from life. | ||
| Most of them were, on average, 700-800 hours of sculpting. | ||
| Each one of those figures, 800 hours of sculpting from life with live models wearing uniforms found around the country and then worn to recreate the same fabric, the same feeling that those soldiers carried into battle and carried through their life. | ||
| We actually found photographs in some of those uniforms of those people's lives, the ones that had worn those uniforms. | ||
| Little photographs, black and whites, that shows how human How human we are. | ||
| And so what has happened is the art world changed, technology has risen, and it usurps the whole idea that we see the world through our hearts, our minds, and our hands, being an artist. | ||
| That's the way I see the world. | ||
| And I made this piece with technology doing the grunt work, but I did not use technology to create the art, to create the sketches, the drawings, The concepts, the allegories, those all came from our history. | ||
| The history that is in literature, that is in the visual arts. | ||
| So I made a visual narrative that goes against what has happened in the art world and in our world. | ||
| I made something that is very, very human. | ||
| It shows the range of the feelings that we carry in our day-to-day existence. | ||
| So you have every sort of feeling that you can imagine, but they all are linked together with this sense of nobility and monumentality. | ||
| And that's really different than what you see today, because art has lost the sense of elevating the spirit. | ||
| It's fallen into this idea of making fun of us, of being ironic. | ||
| There's nothing ironic here at all. | ||
| This is about the elevation of who we are as humans. | ||
| And so I give this to the people of this country. | ||
| Hang on for one second, Saban. | ||
| We're going to take a short commercial break. | ||
| Saban Howard joins us from his studio. | ||
| This incredible piece of art will be installed on 13 September of this year, 2024, Pershing Square Park in Washington, D.C., right across from the White House, which will be another topic later in the show. | ||
| Short commercial break. | ||
| We'll return with Dave Bratt and Sabin Howard in The Worm in just a moment. | ||
|
unidentified
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Welcome back. | |
| Happy New Year. | ||
| We always kick off the New Year's with a special. | ||
| Kind of set the stage or frame what's before us. | ||
| The next month is particularly going to be, I think, one of the most intense months that we've covered on the show since the beginning. | ||
| And we've covered some pretty intense months. | ||
| We'll get into that in a moment. | ||
| Sabin, irony, ironic's probably not the word I'm looking for, so you're going to have to help me out here. | ||
| But this magnificent figurative art that harkens back to the finest works of the neoclassical age, which, as you know, our founders look very much to the Roman Republic for inspiration here. | ||
| It is the very trenches, the mud in the trenches, Is really where I would argue, at least for a while, the Victorian order, the Victorian age and their morals and their thought process and all the great things we got from the Victorians kind of died in the mud. | ||
| And the people that died are the ones that believed it the most. | ||
| the soldiers and the troops, you know, the great books, the search for the ring, right, was a praise of the little village and the shires of World War I. That was all broken because the technology and the inhumanity and the suffering in those trenches. | ||
| Irony is probably the wrong word, but when you have this magnificent piece of art and it harkens back to that very moment when that order was kind of shattered in people, before even the theory of relativity and everything that came out about in the 20s. | ||
| A lot of this had to do with the breaking of the Victorian order and what people thought was the way one should live, but then that died in the mud of the trenches. | ||
| Your observations on that? | ||
| I think you chose the right word when you said it's ironic. | ||
| I've been sculpting for 40 years in isolation, you know, in the South Bronx and then in East Harlem, making classical figures, spending 80,000 hours looking at life models to make figures that looked like they were out of Greek times and Roman times, playing it forward. | ||
| And then I go, OK, I got to do something bigger here because I need this to go public. | ||
| I need this to be seen by the world and us, the United States. | ||
| And I entered this contest. | ||
| There were 360 global teams. | ||
| And the miracle is that this actually made it. | ||
| And we were asked by the Centennial Commission, will you make something that looks like what sits in front of the And those those sculptures that you mentioned before are of horses pulling cannons with men from the Civil War. | ||
| And there is such a sense of humanity in that work. | ||
| And that has been eliminated. | ||
| So why was it eliminated? | ||
| So it's just like it's wiped off the map. | ||
| There's nothing like this going on anymore. | ||
| It's and here all of a sudden, it's like we're dropping this 60 foot sculpture into a beautiful park that's intimate, that has a real sense of sacred and a sense of scale. | ||
| There's something very, very beautiful and graceful about what we have done with the park itself, the environment, and then the focal point being the sculpture. | ||
| So how did this happen at this moment? | ||
| And I think there is some sort of divine power that is working outside of us that has brought this to the forefront and put it out there in a way that it's really loud. | ||
| It's like a tsunami hitting the beach. | ||
| This is like a giant wave. | ||
| It's like enough is enough with the stuff that doesn't have any value, that doesn't hold any sense of decorum and importance of us, because art is us. | ||
| And so I think all of a sudden we're at a moment historically, especially this year, where this is needed. | ||
| This is how culture leads the way. | ||
| This is how it leads us into battle. | ||
| And I am really a strong believer in the very fact that art can lead life. | ||
| Art can lead what is going on in the real world. | ||
| This is something that's put on a pedestal and seen as sacred. | ||
| It's something that has values and it has a lot of messages in it. | ||
| And those messages can be used by others and seen by others. | ||
| It doesn't matter how educated you are, it's understood by everybody on many, many levels. | ||
| And so we're working in the trenches. | ||
| We are in the mud right now, and this sculpture will rise up and lead this country, and hopefully the world, to see what is really necessary. | ||
| It is a war memorial, but underneath that, it's a healing memorial, because it speaks about what we can be. | ||
| So that's what I give you. | ||
| And Happy New Year. | ||
| Magnificent. | ||
| Happy New Year. | ||
| How do people, I want to make sure everybody gets access to follow you on this process as you culminate the nine years work with actually the installation. | ||
| And we're going to make sure that the commemoration and celebration around the installation will be something that obviously the Worm and the Worm Posse are going to participate in. | ||
| So how do people get access to this? | ||
| How do they follow your journey to the end of this? | ||
| Well, we have a secret weapon in the studio. | ||
| It's Tracy Slatton, my wife. | ||
| She is making a documentary which will be unleashed right after this in October. | ||
| And it shows the day to day intimate process of how we made this piece. | ||
| And that's going to be called Heroic. | ||
| That filming has gone on in the foundry. | ||
| We didn't use the foundry in the UK. | ||
| It's they did a beautiful job. | ||
| I'm even getting the fingerprints, the actual fingerprints that we sculpted it with are being transferred into bronze. | ||
| They're going to show up and you can find me at Saban Howard dot com. | ||
| Or if you want to go look at If you want to reach me, I'm available. | ||
|
unidentified
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I will respond to everybody. | |
| I am a sculptor and an artist of the people. | ||
|
unidentified
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I do not pretend to be something different, but I'm with you guys. | |
| I've been working real hard in the trenches for all my life. | ||
| And this is my mission. | ||
| This is my dharma and my passion. | ||
| And I'm in service of something that's bigger than me. | ||
| And so my art becomes sacred because the beliefs that are behind it are about us and elevating us. | ||
|
unidentified
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So, thank you very much for having me on and being allowed to share this with everybody today. | |
| No, we couldn't think of a better guest to kick off the new year as our first guest. | ||
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unidentified
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I appreciate that. | |
| And the first show, Saban. | ||
| Thank you. | ||
| Keep grinding, brother. | ||
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unidentified
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Thank you, Bill. | |
| Fantastic. | ||
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unidentified
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I appreciate that, Steve. | |
| Thank you. | ||
| By the way, he's absolutely correct. | ||
| Art can lead life, as we intend here. | ||
| Dave Brat, I've got two of my, I've got actually three of my Renaissance thinkers in a row. | ||
| I've got Brat, I've got Rahim, I've got Ben Harnwell. | ||
| So I'll start with Brat. | ||
| Your thoughts, sir, on Saban Howard, his work? | ||
| Yeah, well Saban, I find the true miracle in his humility. | ||
| Just saying, I want to talk to all of you. | ||
| Wow. | ||
| What a gift. | ||
| You know, that's grace in a man. | ||
| What a great man. | ||
| He's got the cross. | ||
| He's wearing the cross. | ||
| I get a kick out of that. | ||
| That beautiful sculpture, he spent whatever, 80,000 hours, you know, studying to do that. | ||
| You contrast that with modernity and modern art. | ||
| Modern art, you walk Modern art museum these days and people wonder, you know, did they spend any time thinking about that or putting it together at all? | ||
| And actually, the truth is, they do. | ||
| The modern artists in their nihilism spend hours and hours and hours trying to find the most meaningless concepts they can find. | ||
| They try to pack the opposite of truth and beautiful and goodness. | ||
| They try to find the most empty figures they can find. | ||
| And that's where they spend their hours in an attack on the true and the beautiful and the good. | ||
| So what a contrast to see a sculpture like that, you know, just Showing the beauty of our history, reaching us up to higher heights, drawing visions, leading history, right? | ||
| Art should be leading. | ||
| Most all of art, right? | ||
| Through all of history was beautiful. | ||
| The Greeks and the Romans and the Medievals and the Moderns and even up through the Enlightenment. | ||
| It's just in the last 50 years where you see the decay of our country, the decay of Christianity and the other religions, the decay of philosophy itself now has no foundations, the decay of the family, the decay of the rule of law and those who have been installed by God to run our government. | ||
| And it's just a signal of all of that. | ||
| And so I just applaud that beginning segment for lifting us all up and starting out the new year on a good way. | ||
| Yeah, on a good note. | ||
| In fact, we're going to take a break. | ||
| We're going to get back. | ||
| We've got Dave Brad. | ||
| He's my co-host. | ||
| Raheem's going to join us to lay out the year ahead. | ||
| It is going to be nothing short of monumental. | ||
| It'll be not quite the scale of Saban Howard's Incredible piece of art. | ||
| And it I find it amazing that the commission when they when they gave him the commission, they wanted someone who could who could reach the heights of that statue of General Grant in the enlisted men of the artillery batteries that surround the protection of the Capitol. | ||
| Quite amazing. | ||
| OK, short commercial break. | ||
| We're in a turn. | ||
| It's New Year's Day here in the war room. | ||
| We're kicking off with the kind of overview. | ||
| of what's in store for all of us. | ||
| short commercial break, backing moment. | ||
|
unidentified
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This is a short commercial break. | |
| Welcome back. | ||
| Thank you. | ||
| Raheem, I've got you this magnificent piece you laid out. | ||
| It's a stall for us in 24 unlike any time in American history. | ||
| But I've got to ask you, because I know you love history as much as I do, your thoughts on Saban Howard and the power of art? | ||
| Well, I was very excited to see that and to hear that interview because where that sculpture that monument will be is really just a short walk from where I live. | ||
| And that little area is so important, especially lately, because not just its geolocation, right? | ||
| It's opposite the White House, it's opposite the Willard, you know, right near the old post office in Washington, DC. | ||
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unidentified
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But also, that was a parking lot. | |
| for a long time, and while the National Mall has had its World War II memorial that has obviously been very impressive and attracted lots of people for a long time, as my old friend Nigel Farage will tell you, the history, the legacy, the sacrifice of World War I has often taken a back seat to World War II, especially this side of the Atlantic. | ||
| What they've built there, what they've put there, what they've placed there, and the grandeur with which it stands now in such a prime and important position is, I mean, it's so important to what we talked about last year, right? | ||
| Last year and last week on the show, which is history, the reverence of it, the learning from it, the lack I mean, even at my school, I'm 37 years old, but I still remember 20 years ago when I was learning history in West London, we weren't taught some of the most basic things that you would be expected to know about your own country, about your own civilization. | ||
| And so this resurgence is very important, and I can't wait to go and see it. | ||
| I also am reminded with all of that about the time that Nigel himself took us on a two-person battlefield tour across the Vimy Ridge and showed us again all the things that we had been neglected to have been taught during our schooling. | ||
| So it's not just moving because of what it is, it's moving because of why it is. | ||
| Amazing, and you're 100% correct about World War I and it's thought of, it's kind of an afterthought over here when it's really the war to end all wars. | ||
| Ben Harnwell, your perspective? | ||
|
unidentified
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Steve, I want to, oh by the way, Happy New Year to you, Dave and Raheem, and the War Room, Engine Room, and the War Room Posse. | |
| I just want to start with a personal reflection of the difference that art has made in my life, the impact it's made on me. | ||
| And then I'll talk about Sabine's work there. | ||
| About 25 years ago, I worked right at the centre, lived as well, of Westminster. | ||
| I worked at, some of you might know this, at the Hazard Commons for a few years. | ||
| And that's basically 15 minutes walk from three of some of the best art galleries in the world. | ||
| National Gallery, National Portrait Gallery and the Tate Take Britain there. | ||
| So every day for a number of years, I would go to these galleries and I would go around and I would study the various works in there, trying to understand something about the Western tradition. | ||
| And at the end of those few years, I pretty much could recognise every work of art, who was in that, who was depicted in it, who painted it, what the story was. | ||
| This is the point I want to make. | ||
| And it's almost like a religious thing, right? | ||
| Whenever I would come out of one of these galleries. | ||
| And I would pass people in the streets, after spending an hour or so inside the gallery, just studying the faces painted, some of them obviously hundreds of years old. | ||
| You do that for an hour or so, and you sort of enter a zone. | ||
| You come out of the gallery, and you start studying the faces of anonymous people you're passing in the street. | ||
| And they're no longer anonymous people. | ||
| You feel this intimately. | ||
| You feel the humanity in them. | ||
| Simply because you've been sort of, the study of the art has elevated your perception. | ||
| And as I say, it's almost a transcendental experience. | ||
| It's almost a religious experience when that starts to happen to you. | ||
| And that's what really art is, right? | ||
| It's a mirror that you hold up against people and you can learn something about yourself by looking and studying that art. | ||
| And great art, Steve, great art, well, As times change and people change and generations change, the reason great art is great art is that it still has something new to say at whichever point of reference humanity is walking along its pilgrimage. | ||
| And as Dave Black was saying, right, it's the great tragedy of the modern era. | ||
| It's just that the brutalness, the ugliness of contemporary abstract art Which really tells us nothing about, well, my God, if that's telling us who we are, then we should be very afraid. | ||
| I was going to say it doesn't tell us anything about who we are, but if that does tell us who we are, we should truly be afraid if that is how we are, how we see ourselves. | ||
| Now Sabin's art breaks from that tradition, returns to the aesthetics of classical art and tells us something about heroism, which is something I think society's It's losing, it's because it's becoming more cynical and more opportunistic as Christian faith recedes from our culture. | ||
| I think, you know, this work of art that he's produced and, you know, like Rahim, I can't wait one day to go and see it. | ||
| I hope it has that ennobling effect and elevates us because heroism is something, you know, if you're in the Judeo-Christian Western tradition, heroism is part of our birthright. | ||
| Yeah, especially today, to be a true witness to Jesus Christ in a world which is accelerating towards the clutches of Satan. | ||
| And I say that, you know, I know some people might shit in their seats when I say that, but that is exactly what is happening. | ||
| You know, I think this work could have an unopening effect and help us with the heroism to be authentic witnesses to Jesus Christ in the world today. | ||
| Rahim, let me start with you and come back to Ben on this. | ||
| Part of, and particularly in central London, the sculptures are so powerful. | ||
| But it's particularly the almost Sabin-Howard types of sculpture around the First World War that I've always found to be the most powerful. | ||
| Why is that? | ||
| Because it's also neoclassical. | ||
| Is it because so much were lost in the trenches, particularly for the United Kingdom? | ||
| I mean, that began, although heroism on the battlefield was unquestioned, but it began a 20-year run or 30-year run where you started as the head of the most powerful empire on earth and ended it where the country was, I mean, Churchill was voted out before the war ended because people felt they needed to find another way. | ||
| And there were two decades where England was dark and cold and on rations. | ||
| Is that why when you go and you see the First World War sculpture in central London, it's so powerful because of what it harkens back to the Victorian age or the neoclassical? | ||
| Well, there are, I think, several reasons. | ||
| The first word that springs to mind is also the first word that springs to mind when you ask me why people of my generation and younger have such great problems in their lives, have such great problems regarding, you know, how they interact with society, what they feel their place is, their role is. | ||
| in society if they feel they have one at all, right? | ||
| Whether or not they're members of their community, whether or not they think about the future of their nation, whether they're religious people, spiritual people, godly people. | ||
| And that word is sacrifice, right? | ||
| That word resonates with the people who felt it, it resonates with the community around them. | ||
| that they've been a part of. | ||
| So many great people, so many great lineages were terminated, especially in the First World War. | ||
| You know, those bloodlines never to be seen again. | ||
| And I have an old friend in the United Kingdom who once put it like this, said Tony Blair would have never been Prime Minister, you know, had the lineages not died on those battlefields. | ||
| And it's completely and utterly correct. | ||
| Of course you had a a noble class, a sacrificial class who are willing not just to be stewards of the nation, not just willing to take their place in things like the House of Lords and sit there and make legislation, but who are also willing to be the first front lines on the battlefield and to sacrifice their lives to what they believed to be right and true and proper and for the safety and security of their nations. | ||
| So I think that is one of the most distinct reasons those memorials have such significant impact I also think there are so many ways to look at it, and you often feel this sense that as society has progressed, which I by the way think of as a dirty word nowadays, | ||
| But as society has progressed, we start hearing from a lot of the elite class that actually it's only a small percentage of people that make the difference in the world. | ||
| Really, it's the great entrepreneurs, the great inventors, and everybody else is just kind of fodder, right? | ||
| But it's not the case. | ||
| None of what happened in the First and Second World Wars could have happened without the ordinary man, remember the Tommy, rolling up his sleeves, the wives in the factories, you know, all of that stuff. | ||
| And you talk about the rations and the darkness. | ||
| In reality, Britain didn't particularly recover from that until The late 1970s, early 1980s, it went on for decades. | ||
| You add to that the burgeoning welfare state at the time, the invention of the National Health Service, all of these things which placed more and more pressure on the ordinary person and finally in the 80s obviously something had to give, something changed. | ||
| That's why Reaganism, Thatcherism came along and they were perfect for their times. | ||
| But it's also why we don't try to ape them now. | ||
| We learn the lessons and we implement the things that are correct for this period of time. | ||
| But I can go on. | ||
| There's so much that stemmed from those generations who gave up everything. | ||
| Ben, any thoughts? | ||
|
unidentified
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Follow on from what Rahim was saying, if you go into the House of Lords chamber, you will see all of the crests, noble crests of families who lost someone principally in the First World War. | |
| And Rahim was absolutely right. | ||
| The aristocracy was brutally hit, just like the rest of the social stratas in the UK. | ||
| And I think the UK saw that and it sort of helped A sense of solidarity between the classes. | ||
| Because, of course, that First World War was really so defining in the history of the world. | ||
| And it might be one of the contributing factors why the UK really never sort of slipped into socialism or fascism. | ||
| Because if you're, like Tommy was saying, in the trenches and you're standing next to Lorde, I don't know, Montague of something like that and you see him get blown because the bullets don't distinguish right He might he might have a rank When you see that and then you go back to your home probably one of the contributing factors the UK never slipped into the socialist fascist fascist revolution Lives with us today the impact of that | ||
| Yeah, the Shire stood tall Short commercial break. | ||
| Going to be back in The Worm. | ||
| We're going to talk about 2024. | ||
| What's ahead? | ||
| What lies ahead in one of the most important historical years in modern American history? | ||
| next in the world. | ||
|
unidentified
|
I'm going to be a little bit more specific. | |
| Welcome back. | ||
| Make sure that you check out Birchgold. | ||
| Birchgold.com slash Bannon. | ||
| Understand the forces in back that are making gold at all-time highs. | ||
| You need to understand the forces, not just the price. | ||
| Because the price will fluctuate. | ||
| You need to understand why it has been a hedge for 5,000 years of man's history. | ||
| You can learn that by getting The End of the Dollar Empire. | ||
| More relevant today than even when we started a couple of years ago. | ||
| By going to birchgold.com and also talk to Philip Patrick and the team. | ||
| They'll talk to you about the dynamics and back of the rise of gold and how that looks like it's going to continue to 2024. | ||
| Raheem, you did an incredible piece. | ||
| In the National Pulse the other day, and I've got Brad and Harnwell here, I'm going to have them jump in, but I want you to walk through that because, and there's been other pieces you guys aggregated up about, it's all on the line in 2024 and not just simply in the United States with what we call democracy, sir. | ||
|
unidentified
|
Yep. | |
| I mean, really only, I think started to hit people, myself included, over the last month or so. | ||
| I've been thinking about this for a while, especially thinking about it from, you know, you've got the European parliamentary elections, the US elections, probably got a UK election, although particulars around that can be a little quirky. | ||
| They have until mid-January of 2025 to do that, but the most likely is they'll do it in 2024. | ||
| And then you start to look through everywhere else that's doing this, And you go, OK, well, there are 40 national elections all over the world in 2024. | ||
| That represents 41% of the global population. | ||
| It's 43%, I think, of global gross domestic product. | ||
| And then if you add all of them in that have Senate elections or regional elections or all of that, you're talking in excess of 60-something Nations, and obviously the other numbers go up with that as well, that face real significant change and have real significant change. | ||
| So all of that, a very long way of saying that 2024 is going to make 2016 look like a drop in the ocean, look like it was dull, you know, quite frankly. | ||
| And this year is something that a lot of people will have never seen before. | ||
| There'll be so much information out there. | ||
| And in addition to that there'll be I hate to say it like this and you know talking about things from such a lofty perspective but you have to get into the into the nitty-gritty of it as well there will be a lot of cheating going on there will be a lot of attempts to steal elections all around the world from the groups that understand that, hey, general publics don't want never-ending wars, the general publics don't want their tax burdens rising, general publics are wary of the elite class and the AI that they're | ||
| bringing with them. They have had it up to the teeth with mass migration and that's everywhere. | ||
| Now, the predominantly American audience of this show will sometimes feel like the southern border is something that they are uniquely experiencing, but the reality is the globalist class all around the world are are intentionally wrecking nations and attempting to replace, there I said it, indigenous local native populations with the camp of the saints, right? | ||
| The mass influx of their new subservient, what they honestly think of them as a kind of slave underclass and they want to import them en masse as a result of that. | ||
| 2024 is going to be a referendum on all of those things All across the world, Steve. | ||
| How do you go back to 16? | ||
| Because a lot of people would harken back to the first Trump victory. | ||
| You were obviously Nigel's wingman on Brexit and how they were linked. | ||
| Why is that almost now looked at as a preamble to what's the big event that's happening right now? | ||
| Because in the run up to that, of course, you will remember A lot of us were told it can never happen. | ||
| You might get close, but it'll never happen. | ||
| And then on the evening of, and the morning of especially, that Brexit vote on June the 23rd, 2016, reality rushed up upon us all. | ||
| Not just the historical nature of it, but the logistical nature of it. | ||
| Okay, we won. | ||
|
unidentified
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52-48. | |
| Now what? | ||
| Is the referendum legally binding? | ||
| How does Britain actually leave the European Union? | ||
| What strictures are in place? | ||
| What mechanisms does it get to use? | ||
| And I often describe it to people, especially in America, who say, well, you know, you voted to leave the European Union, but you didn't really get functioning independence. | ||
|
unidentified
|
I say, yeah, well, you voted to You were the original Brexit, right? | |
| You voted to leave the United Kingdom, albeit with bullets instead of ballots, in 1776. | ||
| But you didn't really get a functioning independence until about 1815. | ||
| So those things can take time. | ||
| And that was the realisation afterwards, to say, hey, actually, We're going to need plans to redevelop our own energy base, manufacturing, all of these things that the British government, especially the Conservative government, just wasn't interested in, remains uninterested in. | ||
| And that is one of the things that is going to be in people's minds when they tick their ballots in the United Kingdom this year. | ||
| The Conservative Party has been in power since 2010. | ||
| And what have they done with it? | ||
| Mass migration is at record levels. | ||
| Taxation is at record levels. | ||
| All of that is taking place. | ||
| Logistically, there's a lot to be said for what 2024 harkens. | ||
| By the way, people that support the Republican Party should look at the Tories. | ||
| And see what's going to happen to them, what's already happened to them, what they've allowed to happen in our country. | ||
| Okay, short commercial break. | ||
| Areem, you're going to stick around for a few minutes. | ||
| We've got Ben Hardwell, Joe Allen's going to join us. | ||
| We've got D-Day Brat. | ||
| All of it, Happy New Year. | ||
| It's the first show of the year, the first day of the year. | ||
| I want to thank Real America's Voice for helping us put on our New Year's Day special. | ||
|
unidentified
|
back in a moment. | |
| Oh, say can you see, by the dawn's early light, What so proudly we hailed at the twilight's last gleaming? Whose broad stripes and bright stars, through the perilous fight, O'er the Oh, I'm gonna do it. | ||
| We've wandered many a weary foot, seen no glad sign. | ||
| For Auld Lang Syne, my dear For Auld Lang Syne We'll take a couple pilots yet For Auld Lang Syne |
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