1. "Cultural Marxism" didn't penetrate mainstream consciousness until Bill Lind and Pat Buchanan started talking about it in the early 1990s. But, its roots can be traced back to Marxist Aesthetics which surfaced before the 20th Century. https://twitter.com/cursedsalad/status/1181992831876861952

2. Marxist Aesthetics was particularly concerned with art and its social function. To Marx, art was a superstructural element of social relations of production and a form of social consciousness. All of the Frankfurt School academics were adherents of Marxist Aesthetics

3. Hitler, Alfred Rosenberg, and Robert Ley were fighting this cultural scourge in the 1930s, but they didn't call it Cultural Marxism - they called it Kulturbolshewismus, or Cultural Bolshevism. Cultural Bolshevism was the precursor of Cultural Marxism.

4. As far back as 1925, Hilter mentions Cultural Bolshevism and its effects in Mein Kampf. Hitler identifies art as the catalyst for Germany's cultural deconstruction, which would later precipitate to theater, literature, and even typography.

5. Here is the same excerpt with the word "art" highlighted. Hitler was clearly concerned about the impact art was having on traditional culture in Germany. It is widely agreed that art was at the center of the ideological struggle between Marxists and National Socialists.

6. The National Socialists certainly didn't dismiss Cultural Bolshevism as just a meme either - they set up several institutions to fight it: the Combat League for German Culture, the Office for the Cultivation of Art, and the Ministry of Enlightenment & Propaganda, to name a few

7. Twenty years after Hitler identified art as a catalyst for Germany's cultural upheaval, Jewish Frankfurt School academics Theodor Adorno & Max Horkheimer would write about art's ability to convey the need for social change in their seminal 1944 book, Dialectic of Enlightenment

8. Frankfurt School Jews believed that art creates culture, so they continued developing aesthetic theories throughout the 1950s/60s. Adorno wrote at length about art's ability to subvert society in his 1970 book, Aesthetic Theory, thus influencing Postmodernism & Structuralism.

9. Jewish Frankfurt School academic Herbert Marcuse, who was arguably the most popular author of the 1960s - his book One-Dimensional Man sold 300,000 copies in its first printing alone - further developed Marxist Aesthetics in his 1977 book, The Aesthetic Dimension.

10. In Aesthetic Dimension, Marcuse wrote that art can be used subversively to deconstruct socially unacceptable beliefs and that over time, real life will imitate art. It is irrefutable that art has played a significant role in shaping our current zeitgeist.

11. Aesthetic Dimension illustrates why Marxism evolved into Cultural Marxism. To Marcuse, Marxist aesthetics was too reductive because it focused solely on the proletariat. Marcuse argued that *every* oppressed class can stimulate a revolution through art.

12. Since economic class consciousness failed to unite the proletariat over shared economic interests in England & Germany, the Frankfurt School Jews sought another way to rally non-Jews to undermine their own group interests: convince them they're oppressed.

13. The Jews at the Frankfurt School set out to increase revolutionary potential by galvanizing more than just the economically oppressed; they sought to unite every oppressed class to bring about human emancipation. What was the target? Western society.

14. Western society has historically been oppressive to Jews, stifling their Judaic rituals and sexual proclivities. Since Jews refused to assimilate, they recruited an army to force the West to assimilate to Jewish values. Thus, Jews were the biggest beneficiaries of this effort

15. This assault was executed via Critical Theory - a method of criticism designed to corrupt the perception of Western values, traditions, and institutions. The more people who perceive these things as oppressive, the more foot soldiers Jews had in their war against the West.

16. Frankfurt Jews began recasting the perception of the West as an institute of oppression. White majorities upholding "oppressive" traditions were characterized as oppressors, while minority groups living in the West were characterized as oppressed.

17. This a priori characterization of White majorities as "oppressors" and non-White minorities as "oppressed" is simply an evolution of Marxism except the bourgeoisie were re-cast as "privileged" White people and the proletariat was re-cast as non-White minorities.

18. Whites were re-cast as the apex oppressors because they are the pillars of these "oppressive" structures and have historically posed the biggest threat to Jewish prosperity. The Frankfurt School was conceived to respond to Fascism, which was also promulgated by Whites.

19. But this transcends race; any tradtional element of White society is now oppressive: heterosexuality, Christianity, etc. Even within the White class, men are depicted as oppressive to women. All of this creates revolutionary energy by stoking antagonisms between classes.

20. The Frankfurt Jews attacked Western art & culture for desublimating oppressed classes. Sublimation is a Freudian concept where man deflects his primitive, egoistic, and carnal instincts by doing good deeds. The Frankfurt academics claimed Western culture was "desublimating."

21. According to the Frankfurt Jews, Western culture was "repressively desublimating" because it stifled oppressed classes from uniting and emancipating themselves from oppressive Western traditions; art & culture provided an artificial sense of emancipation through materialism.

22. The Jewish media is now compelling people to sublimate with the "woke" movement. People are encouraged to be part of an oppressed class, and every minority class, whether they are transgender or gay, is directed to attack their prescribed oppressors and system of oppression.

23. This has essentially programmed minorities to see their failures as a consequence of oppression, and the only way they can emancipate themselves from failure, is to emancipate themselves from their oppressors. This is not a system of equality, it's a system of vengeance.

24. Jews are dangling a phantom "equality" carrot in front of "oppressed" classes, completely censoring anything counter-narrative like affirmative action, biased college admissions, etc. According to Cultural Marxism, tolerating dissent is "repressive" and should be censored.

25. Incidentally, Repressive Tolerance & Desublimation are theories of Marcuse. Marcuse was so impactful, he's considered the father of the New Left social movement which was responsible for the protests of 1968 & catalyzed the Civil Rights, Black Power, Chicano, & gay movements.

26. Some may say Jews aren't using Cultural Marxism to bring the West to its knees, but if they're not chasing Cultural Marxism in name, they're chasing it in spirit. Whether they're conscious of this is irrelevant; the outcome is the same: subjugation of the White majority
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