May 25, 2024 - Bannon's War Room
49:13
Participants
| 
| Speaker | Time | Text |
|---|---|---|
| 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've tried 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
|
MAGA Media. | |
| I wish in my soul, I wish that any of these people had a conscience. | ||
|
unidentified
|
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
|
War Room. Here's your host, Stephen K. Bannon. | |
| All of a sudden you're creating something that changes everybody's perception of what is possible in four years. | ||
| That's my deadline. | ||
| It's never been done. | ||
|
unidentified
|
♪♪ ♪♪ | |
| ♪♪ Don't let people tell you that art's, like, all about how | ||
| you feel. | ||
| It's a massive bull. | ||
|
unidentified
|
If you don't know what you're doing, all you're doing is throwing paint up on the wall and saying it's a masterpiece. | |
| New Jersey-based sculptor Sabin Howard has been commissioned to create the World War I Memorial. | ||
| An exclusive look tonight at the making of America's new World War I Memorial. | ||
| And the sculptor, Sabin Howard, considered the best in the world. | ||
| I just want people to know that you're referred to as the greatest living sculptor. | ||
| America's Michelangelo. | ||
|
unidentified
|
I'm responsible to humanity. | |
| I'm responsible to history. | ||
| The digital is a great tool to expedite and create an armature. | ||
| It is absolutely not art. | ||
| Art has to come from the human experience and has to be created through the physicality | ||
| of our hands and our mind. | ||
|
unidentified
|
I can have a platform and I can talk about the bull crap that Jeff Koons and Damien Hirst | |
| create. | ||
| If you destroy Western art and culture, then what are you going to replace it with? | ||
|
unidentified
|
Building and uplifting are hard. | |
| They're hard because the time it takes to establish mastery in art form is a lifetime's voyage. | ||
| I was commissioned to commemorate a war. | ||
|
unidentified
|
This war is one of the most horrible meat grinding moments in all of human history because all of a sudden you throw in machinery and this industrialized destructive force comes in and skin and bones and flesh is no match for metal artillery shells being lobbed at human beings as they march forward It's really important that the visitor have a visible reaction to what they see. | |
| I know they've already decided what they're going to say, so this is an act of pro forma. | ||
|
unidentified
|
This is right next to the White House. | |
| The entire east side is not connected to the rest of the park. | ||
| The entire Hennepin East side is not connected to the rest of the park. | ||
| The scheme that we've already accepted has been presented to us seven months later | ||
| without the alterations and revisions that we asked for. | ||
| What we did was to make something that speaks about human consciousness and the human heart. | ||
|
unidentified
|
Once the threshold is crossed and you walk inside, it's like this sense of belonging to something bigger than oneself. | |
| Nothing else to say. | ||
| This is our Memorial Day weekend special. | ||
| We're going to have our Memorial Day special on Monday with Patrick K. O'Donnell. | ||
| I'll be joined shortly by a couple of Englishmen who I revere their thinking and them as people, Raheem Kassam and Ben Harnwell. | ||
| We're going to talk about the current Third World War, the kinetic part that we've already started. | ||
| But also get their thoughts on particularly World War I. It wasn't called World War I until 20, 30 years later during World War II. | ||
| It was called the Great War, the war to end all wars. | ||
| We've never really had in this country a memorial for it. | ||
| We've got the great artists who conceived it and who's now constructing it and will eventually Uh, place in Washington, D.C. | ||
| later this year. | ||
| Sabin Howard joins us. | ||
| Sabin, one of the things we're going to talk about this weekend, we're definitely going to drill down with Patrick O'Donnell on Mondays, this whole thing, because he's going to go through, as he traditionally does, he's done this show with me for ten years, we talk about the Tomb of the Unknown. | ||
| He wrote the book called The Unknowns, and we go through Arlington National Cemetery, the unknowns, but particularly how the bodies were selected, how we followed on France and Great Britain that had these monuments to unknown soldiers. | ||
| But part of it was because of the trauma, because World War I kind of came out of nowhere. | ||
| I tell people from the day of the assassination of the Archduke and his wife, which was the 28th of June I think it was, That made the front page of the Times of London, which was the definitive paper in the world. | ||
| It was not on the front page of the Times of London again until the 28th of July, when essentially the mobilizations began of these empires, which really couldn't be stopped. | ||
| And as Tuckman lays out in the guns of August, this thing started and by in the next 90 to 100 days, you already had almost a million casualties. | ||
| I mean, this came at this destroyed the Victorian era and the technology overwhelmed people that trauma, that traumatic impact. | ||
| We've never really recovered from. | ||
| as a civilization or society. | ||
| And Sabin, you now have the mandate to be able to manifest this for the American people who have never really had a monument. | ||
| And quite frankly, I don't think I've ever really delved into the trauma that World War I caused in our country, sir. | ||
| Well, we are living after a hundred years after 22 million people are decimated. | ||
| So We are still recoiling and reacting to that tragic event. | ||
| What happened was that there is the elimination of a divine order, the idea that we are a unified world, interwoven, each one of us part of a greater whole. | ||
| The idea of God is decimated and you have the springing up of nihilism. | ||
| Camus, Albert Camus in France, Sartre in France, these are nihilists. | ||
| They say there is no God. | ||
| We are now at the beginning of the modern era. | ||
| Man is alienated, alone. | ||
| He is no longer interconnected with his country or the people and the community around him. | ||
| And what does that sound like? | ||
| Doesn't that sound like what we are being force fed today by the media, by the narrative? | ||
| And I'm specifically just, I've been very, very hit hard by this because as an artist that began studying in the 80s, I could not find the education that I needed. | ||
| It was a miracle that I found the people that handed me the tools to make something of this importance and sacredness could be played forward, because I am in lineage to what happened before World War I. I go back to Greco-Roman tradition, the Renaissance. | ||
| Those are principles and standards that this country was built upon, Western civilization. | ||
| And I'm here to move forward with that message that art is about us and the elevation of human consciousness and the sacred. | ||
| And I want to say something here that's very important. | ||
| Tradition is not the worship of ashes, but the preservation of fire. | ||
| And that is what this sculpture will do. | ||
| It'll play forward the importance of mankind and how we are all interconnected. | ||
| Now, if we go back to World War One, our troops, 116,000 of them died in that bloody conflict. | ||
| And of those soldiers that died, that did not return home to our shores, they left behind something that we could play forward. | ||
| It is our freedom that we will celebrate this Monday on Memorial Day. | ||
| So I want you all to stop. | ||
| Stop for one moment. | ||
| And just give thanks to those that have made your freedom possible, the ability for you to manifest your destiny. | ||
| That is what this country is built upon, upon the Constitution, upon the ideas that you can choose the life of your creation. | ||
| And that is something that we need to protect with this. | ||
| And I protect that in art by making art that is sacred and represents those values. | ||
| Thank you, Steve. | ||
| Now, is the loss of that, that loss of that connection, the loss of the sacred nature of art and how it manifests itself in our lives, was that, was World War I and the brutality of it and the suddenness of it and the scale of it, is that what did it? | ||
| Well, it's my opinion that You lose that many people, you lose your village, and we're talking about Europeans here because we basically had just a bloody nose. | ||
| They took it pretty badly when 22 million people were, you know, vanished, evaporated from the planet. | ||
| When you no longer have the village that you were born in, you no longer have the family that you were born in, you no longer have that home, the job, the whole world is destroyed. | ||
| Nature has been just, it's like a bulldozer came. | ||
| And if you look at the destruction that came from World War One physically to the planet in Europe, we cannot comprehend it. | ||
| If you look at 9-11, 3,000 people died. | ||
| Okay, 3,000 people used to die every hour during World War One. | ||
| You get battles where 50,000 people are no longer there by afternoon. | ||
| So that is the end of making figures that look like What came out of the Renaissance. | ||
| The standards of the Renaissance are about making things that are connected to God. | ||
| There is a sense of a huge hierarchy of all these little small parts that a Renaissance sculpture contains. | ||
| It's a very complex system that mimics the way the world and the universe are put together. | ||
| So not to be too didactic. | ||
| OK, that's gone. | ||
| And you start getting artists coming out of France like Marcel Duchamp, who makes something called like the urinal. | ||
| He takes a pissing pot And he states that's a piece of art. | ||
| He pokes fun at us, who we are as human beings, and it's about the ironic. | ||
| It celebrates the inane, the mundane, things that are not sacred. | ||
| And so this is a complete decimation. | ||
| And this continues for the next hundred years until, you know, the United States picked us up with the MoMA. | ||
| And double day books with the Rockefellers and all of a sudden you are you are doing a 180 away from art that actually celebrates something of value, tradition. | ||
| And it says, let's throw out the baby with the bathwater and we're going to start fresh here and make crap. | ||
| And so if it looks like crap, smells like crap, it must be crap. | ||
| And I don't think a lot of artists are willing to stick their neck out and say that. | ||
| I'm going to do that because my calling card is 60 feet long and 25 tons, and I got something to back up my words. | ||
| It's actually extraordinary, and we'll talk about that when we get back. | ||
| We're going to take a break here in a minute, but the extraordinary thing about all this, Sabin, is that you were actually selected and then were able to execute all within, I think, four years. | ||
| And the scale and beauty of your piece and how it's come together is also, I think, just leaves people in awe of how this actually happened and to go into this into Washington, D.C., which there is some magnificent, magnificent sculptures, although there haven't been a lot of magnificent ones that have been done, I don't know, in the last, I don't know, 30, 40, 50 years. | ||
| Most of these were done, I think, before World War I. We're going to take a short commercial break. | ||
| I want to thank our sponsor for the weekend show, Birchgold. | ||
| Philip Patrick, we're going to have on later, but I want to thank the team at Birchgold.com. | ||
| Remember, What we're talking about when we start off with the World War I and talk about the short 20th century, 1914 to 1989, that was a time of turbulence. | ||
| We're in another one as Rahim and Ben will walk us through. | ||
| The kinetic part of the Third World War has already started and it's already left. | ||
| I think people have calculated it may have already been up to one million casualties. | ||
| Worldwide, when you count them all up. | ||
| So, short commercial break. | ||
| Birchgold.com slash bandit. | ||
| Make sure you go there today. | ||
| End of the Dollar Empire. | ||
| All free. | ||
| Download it. | ||
| The fifth installment is out about central bank digital currencies. | ||
| You want to put the fear of God in you? | ||
| Just read about central bank digital currencies. | ||
| Short break. | ||
|
unidentified
|
The great artist, Saban Howard, on the other side. | |
| War Room. | ||
| Here's your host, Stephen K. Band. | ||
| Sabin, you drew inspiration, obviously, from the Renaissance and from the greats that you studied, but also something inspired you, and particularly one of the reasons I think you were selected was even the panel. | ||
| Some of the most powerful sculpture in Washington, D.C. | ||
| Talk about that, and then how the last four years. | ||
| What have you gone through? | ||
| Where do we stand? | ||
| Because we want people now to get the countdown. | ||
| Of when this is going to happen, because I think we're within 90 days, if my memory serves me correctly. | ||
| That is correct. | ||
| I was really lucky enough to have Edwin Fountain, who was part of the Centennial Commission. | ||
| They were the organization that put out the 360 Global Team Competition, and we were the lucky guys that won this commission. | ||
| And Edwin's taste was But towards the grant memorial, it's done by the sculpture Shrady. | ||
| Shrady dropped dead after 20 years, two weeks before that memorial was unveiled to the public from the stress of creating this project. | ||
| And that sculpture that stands in front of the Capitol was probably the best sculpture in Washington, D.C. | ||
| And I'll tell you here why it's the best sculpture. | ||
| OK, first of all, it shows human beings in an artillery wagon, pulling artillery through the mud. | ||
| And there are horses that you can smell the sweat on their flesh. | ||
| It is truly what visual art should be. | ||
| It's a visual narrative. | ||
| It returns back to presenting art in a way that the common man can understand. | ||
| You don't have to go read a book about the Shrady Memorial to understand it. | ||
| And that is what great art does. | ||
| It's first and foremost, it's visual. | ||
| So that's what I was asked to follow in the footsteps. | ||
| So I took that as my mission and my task, and I completely revamped myself as an artist because I had to grow on the job through the training and the process of reaching that final iteration, which is a soldier's journey. | ||
| I did 25 iterations. | ||
| Then I had to go through the Commission of Fine Arts, which is a bureaucracy In Washington, which was a tremendous challenge. | ||
| We passed that hurdle. | ||
| Never to turn back. | ||
| And I began sculpting finally in August of twenty nineteen. | ||
| The life size full scale clay that would be cast in the UK in bronze and then shipped back this summer. | ||
| to Washington, D.C. | ||
| in July. | ||
| This August, I will be assembling the four panels together to make that one panel telling the whole story of that soldier that leaves home, enters into the Brotherhood of Arms, and then battle. | ||
| And from that point, he is shell-shocked. | ||
| Now, he is an allegory for the United States. | ||
| He is an allegory for the world and the transformation that occurred that went from that divine order to an alienated, chaotic, you know, nihilistic vision of what and who we are. | ||
| And come the night of September 13th, which is General Pershing's birthday, we will have a candlelit vigil that will celebrate and be first light on that sculpture for the general public. | ||
| Sun sets on September 13th at 719 PM. | ||
| That is the time that that vigil will begin. | ||
| Now, I used a lot of veterans from our service in this project. | ||
| I used Navy SEALs, Marines, Rangers, and I used them specifically because their faces and their morphology carried their history. | ||
| It carried their sacrifice in service of our country to protect our freedoms that we so often take for granted. | ||
| And those soldiers are now immortalized in bronze on that wall forever. | ||
| This project is the first time that the story of soldiers leaving home, entering battle, and then returning home is told. | ||
| So it is a historical piece. | ||
| And it is also a universal piece where any soldier from any part of the world that comes to Washington, D.C. | ||
| to learn our history will understand. | ||
| And so I am hoping that all you patriots will show up on September 13th. | ||
| And I want to add to this that my wife, Tracy Slatton, who is part of the War Room Posse, will be delivering A documentary on the creation of this sculpture next spring after the election. | ||
| So there you have it. | ||
| Thank you, Steve, for giving me the time today. | ||
| I'm really honored. | ||
| Hang on. | ||
| So on the evening of the 13th, Pershing's birthday, you have the vigil starting at 719. | ||
| Is there also going to be something the next day? | ||
| Are people going to see an unveiling in the daylight, or are you going to unveil it that night at sunset? | ||
| That night we will unveil there is a private event with commissioners, government officials, and the commissions involved in the project in the afternoon, and then it is open to the public that evening, and the next day it will be officially open to the public for forever, or for as long as Washington, D.C. | ||
| stands. | ||
| When do you actually ship from the United Kingdom? | ||
| Has it already been on vessels? | ||
| When does it actually ship on the vessels itself to the United States? | ||
| Right now, we are slamming at the foundry. | ||
| We are about to finish off, by probably the last week of June, we will complete the sculpture. | ||
| I guarantee you, we are on time, on budget, and on June 22nd, that sculpture should be completed by the end of that week. | ||
| That Monday right after that, we're going to start cutting it back into those four sections, and those four sections will be put into two shipping containers. | ||
| And then it will travel via ship across the ocean, now to probably Elizabeth, New Jersey, because it can't go to Baltimore anymore, given the fact that the bridge has disappeared. | ||
| And so now it will arrive probably last week of July. | ||
| August is all of All of the, you know, installation, which is lifting these pieces out with a crane out of those shipping containers and reassembling and re-patinaing. | ||
| And that that will be a task in itself. | ||
| Then we are working on lighting. | ||
| So this sculpture will have a real footprint, a visual footprint in terms of like how it's seen at night. | ||
| I wanted to do something that was very, very dramatic. | ||
| The figures will pop off of the back wall, so the contrast will be increased. | ||
| And I'm telling you this because I'm making something that follows in the footsteps of Western civilization, but you need to play it forward. | ||
| And so what is our favorite type of medium in terms of the art world today? | ||
| It's film. | ||
| So I made a bronze film that you can actually walk from left to right, and any eighth grader is going to get it. | ||
| And that was the whole point of this. | ||
| It's a sculpture for we, the people. | ||
| For everyone. | ||
| It's not for the people that are the elite, the ones that, you know, have to go read the book and write the book to understand it. | ||
| It's for everyone. | ||
| You don't need to be an art aficionado to get this one. | ||
| This one is, it's obvious, but I'm going to tell you, it also has a great deal of depth and carries a lot of allegorical symbolism concerning our country and the voyage that we passed through historically during World War I. And it was not really paid attention to in this country because it was usurped by the Great Depression and by World War II. | ||
| So this is really something that is long overdue. | ||
| And I think that it will have a tremendous impact historically, because I am a strong proponent of maintaining and really taking care of history, because history is our culture. | ||
| And if you destroy your culture, you create a void. | ||
| And why is that happening right now? | ||
| Because there are attempts to rewrite history. | ||
| And that is not the direction that this sculpture will go. | ||
| Why did it take, I think the World War II monument came about in the early aughts to that extent, and then World War I just came up. | ||
| Why did it take so long to do monuments to the two great wars that really, with the Civil War, defined this country? | ||
| Why did it take so long? | ||
| We worked backwards. | ||
| If you remember the Vietnam Memorial, which was done under the Reagan era, that received a tremendous amount of publicity, and from there it went backwards. | ||
| We went then to the Korean War Memorial, and the World War II Memorial, and then finally the World War I Memorial. | ||
| And this has been a very strange way of looking at things. | ||
| I would wish that our culture had more reverence for the history of this country. | ||
| And perhaps with shows like yours and pieces of art like mine, we can actually change the trajectory of the way general public and the narrative is written. | ||
| Because if you do not have history of a country, you do not have anything that brings all of us together. | ||
| Our history is what unifies us, that we can stand under. | ||
| And I would like to add to that that the soldiers that went off to World War I were neither Democrats or Republicans. | ||
| They were red blooded because all of their blood was red Americans. | ||
| That is what they were. | ||
| They were not one thing or another. | ||
| They were Americans. | ||
| Sabin, where do they go to your website? | ||
| Where do they go to find about Tracy's film? | ||
| Where do they go to find everything about this project and what else you're working on? | ||
| We could look at Sabin, S-A-B-I-N Howard dot com or you can find me on Instagram at Sabin Howard Sculpture and I'm now on Twitter at Sabin Howard Sculpture again. | ||
| I look forward to hearing back from you people. | ||
| This sculpture is for you. | ||
| It's not for me. | ||
| This is about our country and we the people. | ||
| Let's everybody get in and get into the comment section and start engaging with Sabin. | ||
| We're hopefully going to do some live remotes from the actual foundry and then follow the entire trek here to the United States. | ||
| Sabin Howard, thank you very much. | ||
| Honored to have you on here, sir, to kick off our Memorial Day weekend. | ||
| Thank you, Steve. | ||
| Thank you, brother. | ||
| Raheem Kassam and Ben Harnwell, two of the smartest guys I know, have deemed to be available to us. | ||
| And we're going to take advantage of that. | ||
| Short commercial break. | ||
| Warpath Coffee. | ||
| Warpath.Coffee. | ||
| Get put in War Room. | ||
| Make sure you get your discount. | ||
| Check it out. | ||
| Immerse yourself in information. | ||
| This is the finest coffee you'll ever have. | ||
| Who says that? | ||
| Your War Room posse members. | ||
| Short break. | ||
| Back in a moment. | ||
|
unidentified
|
Okay, welcome back. | |
| We left last night's show with the discussion of how The kinetic war part, two parts. | ||
| One, the kinetic war started. | ||
| Our allies know about it. | ||
| You can't hide it anymore. | ||
| We ought to get it up on the table and talk about it. | ||
| Also about Nikki Haley and even further information of her and President Trump at the rally. | ||
| You know, and you've got the New York Times, Tom Cotton, probably the biggest neocon hawk in the Senate as a potential VP. | ||
| We'll get to all that in a minute, but Rahim, I'll start with you and bring in Ben. | ||
| You two are Englishmen and from our mother country. | ||
| One of the things we talk about, and I wanted to kick off with saving on the World War I monument memorial, and Philip, Patrick K. O'Donnell, we spent a lot of time, we're going to spend a lot of time with him on Monday going through this topic, as we always do. | ||
| But World War I, Totally and completely changed the direction of not just Western civilization but particularly England and you guys have remembered the trauma there and you remembered it and it changed that nation. | ||
| Walk me through that in a particular way because your November 11th Armistice Day is your Memorial Day where you honor, not your veterans, but you honor your war dead and that's the difference here. | ||
| Memorial Day weekend we want to remind everybody veteran, I'm a veteran, Veterans Day for us is November 11th. | ||
| Memorial Day is where we honor our war dead, and it's a very different commemoration. | ||
| Raheem Kassam. | ||
| Yeah, Steve, I think, I mean, there's so many things there as well. | ||
| And obviously, just to pick up on a point that another of your guests made over the course of this week, was that we are accustomed to showing that by wearing a poppy, right? | ||
| The red flower found in Flanders fields. | ||
| And it's one of the most critical ways, obviously, that everybody can show for that day, that week, that weekend, that we're all thinking of exactly what was just said, right? | ||
| The preservation of fire, not ashes. | ||
| There was so much lost, institutionally, technologically, financially, but of course, as we mostly remember today, so much lost in blood. | ||
| A friend of mine once said, and I think I've said it on this show a bunch of times before, You know, were so many not lost, especially in the First World War, especially the upper echelons of British civil society, the landowners, the aristocracy, the thought leaders, the generals, | ||
| We would not have a current political settlement as we currently have it. | ||
| It turned everything completely upside down and it laid the groundwork really for the current political settlement in Western Europe. | ||
| The financial settlement, the mass migration that you see taking place today, the political settlement. | ||
| The economy, obviously, Britain losing its empire geopolitically, it had huge, huge ramifications and the ascent of America on the world stage as a result of all of that. | ||
| So the memories are not just about what happened on those battlefields, but what flowed from those battlefields additionally. | ||
| And it bears repeating and it bears coverage every single year. | ||
| Before I go to Ben, I've been getting up to speed with Sabin's Monument coming out, World War I again, and going back and reading some of the things I'd read years ago. | ||
| I was reading this book about the beginning phases of it, and in 1914, the carnage was so bad for the British. | ||
| The British Expeditionary Force from mid-August when they got over there. | ||
| The carnage was so bad, Rahim, that Burke's Peerage, I think of 1914, was delayed almost a year in being published because there had been so much slaughter. | ||
| I think, you know, they had, I mean, dozens and dozens of, you know, Dukes and Viscounts and Knights. | ||
| What did that do to British society? | ||
| Did British society ever recover from its leadership class being decimated because it got worse as the war went on? | ||
| And what's shocking is that with this carnage, with the advances in artillery and machine guns and submarines and airplanes and tanks, everything came in, there was virtually unquestioning I mean, it was virtually unquestioning of people just going over in this trench warfare, in these slaughters that, you know, massacres of men who almost unquestioningly went and just gave everything, where it looked like it was very little actually being won and no glory, sir. | ||
| Yeah, that's right. | ||
| I mean, there is no world in which you have those lineages surviving and that Britain looks like it does today. | ||
| Just no world whatsoever that that's the case. | ||
| There's no world in which you have those, as you say, you know, the highest part of British civil society, in a lot of senses, the smartest people in the room, the highest IQ, the strategists, the generals, the Viscounts, the landowners. | ||
| Where then you have a post-war settlement, a post-World War II settlement that includes the establishing of a socialised healthcare system that effectively annually bankrupts the nation now, where you have the opening up of borders to all parts of the globe without any level of discernment and discrimination. | ||
| And where you have, if you don't mind me saying, a singular superpower on the world stage for the next several decades to this very day. | ||
| So the world would look very different indeed. | ||
| Ben Harnwell, your thoughts about this? | ||
| Well, talking about the First World War specifically, following on from what Rahim said, it's very much the idea of lions being led by donkeys. | ||
| And it's absolutely clear, I think, that Western civilization lost, in an ontological sense, It's innocence in the First World War. | ||
| After 2000 years, there'd been wars all the time, there'd been plagues, there'd been catastrophes, but there was something about the First World War, about the sheer lack of value placed on human life. | ||
| On such a large scale that we really lost the ability to think that there was anything morally contained within Western civilization, within the direction of history, that the weak sense of progress. | ||
| The whole thing was exploded in the First World War just because of the senseless slaughter. | ||
| Now, coming to Memorial Day itself, we have the The secular state has basically what in the Catholic sense would be liturgical dates, but the reasoning is the same. | ||
| The Catholic Church has Corpus Christi, for example, or the Assumption of the Virgin Mary on the 15th of February. | ||
| You have these things where Catholics get together. | ||
| Historically, I mean, it goes back into deep medieval ages, these things. | ||
| And the whole community, the whole church community would come together and just remember something important about the spiritual journey. | ||
| Well, in terms of secular civic religion, it's exactly the same. | ||
| You have Presidents Day, you have Memorial Day. | ||
| And these are ideas where everyone in the community can come together and remember something very important. | ||
| about where it is and how it got there and as part of its civic spiritual life. | ||
| And as you were saying, Steve, the point about Memorial Day is to spend a moment in prayer and reflection and gratitude. | ||
| You said that we do this in the Yukon on the 11th of November, but the point is the same, just to remember the fact that we have things that we absolutely take for granted. | ||
| And of course, because they're free, we tend not to put a value on them. | ||
| One of those things is liberty. | ||
| So, yeah, it's absolutely right that we take a moment and thank silently in the deeper Recesses of our hearts, the sacrifices people have made in all wars, but especially the First and Second World War, so that we can be free, even if we're squandering that legacy and that sacrifice. | ||
| When you talk about the squandering, Rahim, correct me if I'm wrong, but these very moving and incredible monuments and memorials you have not just to leaders, but to actual the soldiers themselves. | ||
| Haven't these been defaced when you have these protests and these riots? | ||
| And this is why I keep saying it's against Western civilization and against America. | ||
| uh... this propane that that the marxist | ||
| g hottest protest that of omar overwhelmed central london have a nation to | ||
| faced some of these memorials | ||
| here this seems to be uh... | ||
| just to make it clear for everybody not not uh... | ||
| Corollary. | ||
| It's not by accident. | ||
| They're not just in the way and getting somehow trampled or defaced. | ||
| These have been the memorials, whether they are to individuals, whether they, I mean, the animals of the World Wars Memorial, the women of the World War Memorials, the cenotaph itself, The big memorial where the poppy wreaths are laid every year, as you say, for our own memorial day and our memorial services. | ||
| The statue of Churchill in Parliament Square. | ||
| You name it. | ||
| They are both the active target of the far left. | ||
| I mean, we've been talking about this now, it feels like for almost two decades, to say, and I certainly, you know, that would have put me age-wise, by the way, graduating high school and going into university. | ||
| And that was about the same time that I recognized that this was going on. | ||
| And that was about the same time that I started getting involved in politics and recognizing | ||
| that that unholy allowance of Western civilization haters was actively trying to tear that stuff | ||
| down. | ||
| And by the way, you know, I've been now in the United States for nine odd years and have | ||
| written multiple times about the the excuseless attempts to tear down statues like those in | ||
| Arlington National Cemetery. | ||
| You know, the Moses Ezekiel statue of the North and the South coming together. | ||
| These will remain targets. | ||
| And in fact, you know, this was why it was so important under the previous Trump administration That he and his team actually talked about building new monuments and building new statues and preserving history and heritage rather than allowing the leftists to tear it down so wantonly. | ||
| Ben, along that line, is Sabin Howard, is it magnificent what he's doing, or could you argue it's a full Zarin? | ||
| You can't go back to that, and as much as we want to go back to that, that the 20th century, the modernity struck and tore it apart, and so there's a gap, there's a breach, a scar that can't be healed, that disconnects us from the Renaissance, and disconnects us from a more sacred age like the Middle Ages. | ||
| Well, a scar is the correct word, I think, because it shows it's a historical, biological Remembrance within skin of wounds at a previous time that had been absorbed by the system, but which have subsequently healed, but healed in such a way that you can still see the effects of the original injury, even if the consequences of that are no longer felt. | ||
| So I think that that sky is absolutely the correct word when we're talking about Human tragedies that are no longer within living memory. | ||
| It's a scar, Steve, on the collective psyche, on the collective consciousness. | ||
| And that's good, because it reminds us of what we've done to ourselves and to others, and ought to give us some prudence. | ||
| Of course, it's not doing, you know, You, Rahim, myself, were talking, I think, on last night's show about the potential for a nuclear war setting off with regards to Ukraine. | ||
| One would have hoped, having a conversation on this context, that looking at the tragedies, the human tragedies of war, we might actually take a moment to reflect and say, OK, we'll look at these psychological scars on our culture and try not to repeat the mistakes that our forefathers made. | ||
| But that's probably why you said, is this a fool's errand? | ||
| Well, look, the cost of losing is total annihilation, in which case there's nobody going to be pointing the finger laughing at us. | ||
| So let's do the fool's errand and hope with the grace of Jesus Christ in heaven that we're actually successful. | ||
| Okay, we're going to take a short break. | ||
| We're going to pivot next to the Third World War, following from our discussion last night with Rahim and Ben Harnwell, and we're going to talk about the rise of the neocons here in the United States against America first, when we get into all that. | ||
| Birchgold.com slash Bannon. | ||
| Phillip's going to be with us a little later in the show. | ||
| End of the Dollar Empire. | ||
| Totally free. | ||
| Can be downloaded today, all five installments. | ||
| Short break. | ||
| Hello, I'm Steve Stern, CEO of FlagShirt.com, a third-generation, veteran-owned small business. | ||
| I believe that the American way of life is for all of us. | ||
| I'm asking you today to visit FlagShirt.com. | ||
| Help keep the American dream alive. | ||
| Be a flag waver. | ||
| Carry a nation's heritage. | ||
| Use coupon code ACTION10 for 10% off site-wide and buy a flag shirt today. | ||
| Action, action, action. | ||
| Okay, that's Steve Stern and the Flagship Company. | ||
| Make sure you honor our nation. | ||
| Always embrace the flag, the American flag. | ||
| Not the one with five, the star with five points. | ||
| Not the Islamic eight-point star that flies with the capital in Minnesota. | ||
| Ben Harnwell, and I think it was Rahim Kassam, if memory serves me correctly, I think it was Rahim in the National Pulse that first brought up, with Poso maybe it was, on these Nazis, neo-Nazis in Ukraine. | ||
| But this story actually taking on new development, Ben Harnwell, get us up to speed, we'll get Rahim in here, but talk about not learning the lessons of history. | ||
| We're here on Memorial Day weekend, we're talking about the monument of the First World War, we've already mentioned the Second. | ||
| And now we have Boris Johnson and the folks in Kiev that are embracing Nazis as Putin, and everybody called him a liar, when Putin warned everybody this was happening, and now it's happening up in your grill. | ||
| Ben Harnwell. | ||
| Steve, I'd like to invite Denver to put up the article from the Malaysia Sun here, which has the photo. | ||
| So, Boris Johnson, I know one of Rahim's personal favorites. | ||
| British Conservative figures hosted a delegation from the Azov Brigade in the House of Commons last week. | ||
| And there you can see him holding the banner with the Wolfsangel, the Wolfshug insignia. | ||
| Now, just a bit of background on this. | ||
| This symbol was actually used by several German divisions during World War Two, including the 2nd SS Panzer Division Das Reich. | ||
| Which was notorious for its war crimes, particularly against Jewish and French populations. | ||
| Now, there's been some hoo-ha about this. | ||
| It hasn't really been covered in the British press, but it has been available on social media. | ||
| And that's a story in and of itself. | ||
| But a question basically arises, well, you know, hang on, what's going on here? | ||
| And as you say, the National Pulse and Human Events have been on this from the beginning. | ||
| But there's clearly a distinction here, because there are good Nazis and there are bad Nazis. | ||
| Now look, Rahim, Steve, we're Neanderthals in our political outlook, you know, good, bad, Black, white, it's pretty simple, right? | ||
| We haven't been bestowed with the magical ability that globalists have to distinguish between good Nazis and bad Nazis. | ||
| Apparently the Azov Brigade are good Nazis, hence Boris Johnson, who very much considers himself, famously by the way, he's very much modelled himself on Winston Churchill, explicitly rather than Margaret Thatcher, which is where most of the British Tory party claims to find its point of reference. | ||
| So here he is, holding this banner used by various divisions of the SS. | ||
| What did we discover last week, two weeks ago on the show? | ||
| There was a buried lead, I think it was in the Times, because I'd never seen any reference to this and I follow these things very closely. | ||
| There has been since 2017, this is probably when you were still in the White House, there has been a ban, an embargo on American arms going to Ukraine, specifically to the Azov battalion since, as I say, 2017 because of its proto-Nazi | ||
| links. | ||
| So this isn't a secret. | ||
| This isn't something that the US administration isn't aware of. | ||
| They're very much aware of this connection. | ||
| And as I say, there is to this day, to this day, an arms embargo specifically to this | ||
| battalion. | ||
| Boris Johnson is holding the banner up in the House of Commons. | ||
| So I'm going to have something more to say. | ||
| I give way to Rahim, but I have something more to say. | ||
| Well, hold on, I want to do this, but bad Nazis, we have an alternative for Deutschland, a guy makes a, and he's not a good guy. | ||
| Exactly. | ||
| He makes a comment, and we're going to get to that in a second, but Rahim, brother, help me out here. | ||
| Particularly how inextricably linked, if Johnson was just a side character in this drama of the third world war, it would be different. | ||
| It would still be awful, but it would be different. | ||
| He is a central player, and I might argue the deep state's most central player in kind of the connective tissue of this fiasco. | ||
| But how can the British press, why do we have to go to the Malaysian Sentinel to see this? | ||
| Why is this not blazing across the sun, blazing across the Times of London? | ||
| Why is it not on the front page of the Financial Times, sir? | ||
| Yeah, well, look, I've got some issues here, and I'm going to start off with Ben Harnwell and the Malaysia paper, which is using a Russia Today write-up about that story. | ||
| We do have it up, including the video of the event, by the way, at thenationalpulse.com. | ||
| So, Steve, maybe you can put your hand in your pocket and buy Ben a subscription to The National Pulse. | ||
| You'll see that story up there. | ||
|
unidentified
|
Hold it. | |
| Warren, I thought we got a freebie, but obviously not. | ||
|
unidentified
|
Go ahead. | |
| No, keep going, keep going, this is too good. | ||
| Look, I take the point. | ||
| The point is, you know, far-flung news outlets all around the world will put their hands on this, but the domestic corporate media class and the corporate media papers don't. | ||
| From Washington to Westminster, this will be broadly ignored. | ||
| Now, what's even more heinous about it was this is a group that's run by some pretty strange figures. | ||
| This is a group called the Conservative Friends of Ukraine, operating out of Westminster in the United Kingdom. | ||
| Where Boris Johnson was speaking, where he lauded the neo-Nazis in the Azov Battalion. | ||
| In the same speech, by the way, he was calling for outright open warfare within Russia's borders, therefore escalating the conflict once again. | ||
| And we know we've heard that again from Westminster to Washington in prior weeks also. | ||
| It's fascinating, because as you say, I could pull my hair out talking about this. | ||
| You will both know, and I'm sure the audience knows by now, that I've spent the best part of my 30s now trying to bang into people's heads that Boris Johnson is an evil character, he is a malign character, he is right up there with Tony Blair as far as it comes to being a An outright neoconservative who's in the pockets of big corporations and their war-loving ways. | ||
| But, you know, you also have to remember, it was Boris Johnson who flew to Kiev to tell Zelensky not to embrace a peace process last year. | ||
| So this, and everything that flowed from it, remember, all the battles on Capitol Hill, all the Mike Johnson stuff, Could have all been avoided and all the blood is on your hands, Boris Johnson. | ||
| Hang on one second. | ||
| We're going to continue this in 90 seconds. |
Export Selection