Elitist technocrat and member of the influential Huxley bloodline, Julian Huxley, wrote concerning the manner in which culture is to be subverted and utilized by the “world socialist controllers”1 in his book UNESCO: It’s Purpose and Philosophy. UNESCO is the cultural arm of the United Nations tasked with “advancing, through the educational and scientific and cultural relations of the peoples of the world, the objectives of international peace and of the common welfare of mankind.”2 Furthermore, Huxley goes on to explain the various other goals/methods; these being “the work of advancing the mutual knowledge and understanding of peoples, through all means of mass communication,” “fresh impulse to popular education and to the spread of culture,” “the ideal of equality of educational opportunity without regard to race, sex or any distinctions, economic or social,” “educational methods best suited to prepare the children of the world for the responsibilities of freedom,” “co-operation among the nations in all branches of intellectual activity,” “the international exchange of persons active in the fields of education, science and culture,” “the exchange of publications, objects of artistic and scientific interest,. and other materials of information,” and “the initiation of “methods of international co-operation calculated to give the peoples of all countries access to the printed and published materials produced by any of them.”3 Fancy language is always used by Huxley and the countless other technocrats to confuse and disarm the populace, while their actual goal is something more akin to what Julian’s brother, Aldous laid out in his Brave New World; a common global, centralized culture, transhumanism, one world religion, one world government, and depopulation for everyone who is not the establishment among countless other common globalist mantras. To read the writings of the global elite and to understand their plans for cultural transformation, and thus, global transformation, is of utmost necessity for understanding where we are now and what the elite have in store for us. The Huxley-adjacent Royal Society technocrats are key among these, as they are in a long line of Fabian-minded globalists who were influenced by early members of the Fabian Society who themselves were the first to theorize and implement cultural warfare, subversion, and integration as being necessary components to achieving what Lord Lionel Curtis called the “Commonwealth of God.”4 So influential in fact, that various characters in Brave New World were named after famous Fabian Socialists, such as George Bernard Shaw— himself probably being the most influential cultural subversive to be bred from the tradition. What is later proposed by Huxley in his UNESCO book was first postulated, tried, and successfully achieved, as we will show, by the Fabian Society (backed by Rothschild and international finance)— to the end of British and later American decadence.
Now, what is Fabianism and the Fabian Society and what do they stand for? Simply put, Fabianism has been the functioning philosophical tradition of the establishment ever since the Fabians began to merge themselves with the Milner-Rhodes-Rothschild Round Table groups that began to be set up in the 1890s and early 1900s.5 It was born out of the Marxist tradition and the many schisms that occured following the death of Karl Marx in 1883 and the subsequent failure of classical Marxism to revolutionize the British proletariat via appeals to their economic ‘oppression’. The classical economic Marxists sought to uproot and remold society through economic agitation and immediate, violent and bloody revolution (what we saw in the Soviet Union). And although Marx and his contemporary Ferdinand Lassalle towards the end of their lives began to see the potentiality for bringing about change via other means, they didn’t yet make the full conversion to proto-Fabianism. The Fabian Socialists sought to bring about the same revolution with the same intentions via a gradual transformation of culture, education, and media. In the disputes between the Fabians (reformed Marxists) and the classical Marxists, a problem began to arise upon the critiques the Fabians made of classical Marxism— that the workers didn’t care at all for Marx’s notional abstract speculations about the history and distribution of capital. The workers themselves were merely concerned with achieving higher standards of living, higher wages, and lunch breaks, not the pseudo-intellectual gobbledygook written about by Marx in gigantic 2000 page treatises. The Fabians proposed a new, more secretive way of revolution; one more concerned with sowing slow-growing seeds rather than an immediate uprooting and replanting. The Fabians thrive on secrecy, hence why they historically have always had major ties to Masonic lodges, and eventually why they saw it fit to align themselves with the most dominant and influential secret society, the Milner-Rhodes round table groups. Classically, the main mascot and symbol used by the Fabians was the wolf in sheeps clothing, which was presented on their coat of arms— obviously being symbolic of their inner, hidden, and depraved nature being cloaked with the faux-virtues of tolerance, inclusion, and empathy, as well as their focus being on the primacy of a hidden agenda masked behind the subverted forces of the Tories and the Social Democratic Party. This secrecy with which the Fabians concern themselves has led to them being almost erased from the annals of history and completely unknown to the general public, a fact with which the Fabians themselves are quite content with. To a lesser extent what is known are the methods used to transform a society via cultural subversion and infiltration that were first developed by the founders and radical adherents of Fabian Socialism, chiefly George Bernard Shaw and Sidney Webb. These methods that were implemented in the 1890s layed the groundwork for the subsequent cultural revolutions we would see in the years to come, chiefly the CIA created American cultural revolution in the 1960s. The CIA, being an outgrowth and continuation of the British intelligence apparatus which itself was subservient to the Milner-Rhodes round table group, used and promoted the same type of transgressive, degenerate art and media as a means of degrading the American public as the Fabian society did in the late 19th and early 20th century. The consequences of the 1890s degeneracy are the root of the even more advanced degeneracy we see in the west today. On this topic we will go further into depth in the months and years to come, as entire books have been and can be written on the Tavistock promoted new-age movement and it’s funding, the CIA and modernist art and so on, but before we dive into those topics, it is necessary we go back to the modern beginning of cultural inversion and look at the Fabians and their early methods of subverting culture.
Sidney Webb and Architectural Transformation
The Fabians saw the retooling of culture as a necessary step in achieving complete Marxist liberation from the ‘forces of oppression’. Although they themselves were backed by the wealthiest British bloodline aristocracy, they needed a veneer by which the ‘association of helpers’6 could be convinced to go along with this demonic plan of attacking culture. Sidney Webb was a key Fabian socialist and one of the first members of the Fabian Society to begin to abuse and subvert culture via manipulation of the arts. He was one of many chairs on the board of the London County Council Technical Education Board, a key organization which was very influential in matters of public culture and education.7 Webb was very fond of a fellow Fabian Socialist named William Morris, who was an influential artist who also sought to integrate Fabian politics into culture and retool society via his founding of the Arts and Crafts movement in 1891.8 Webb was consistently surrounded with the works of Morris during his time as a chair at London County and was moved by the arts and crafts movement so much that eventually in 1896 he founded the Central School of Arts and Crafts chiefed by “highly influential” architect William Lethaby. This school was very influential throughout Britain, with it being behind the design and construction of many renowned British housing developments, but most importantly— the London School of Economics building, which would later become a bastion of Keynesian, Fabian economic policy. These designs of Morris and Lethaby propagated by the Fabians were very influential in terms of modernist architecture— laying the groundwork for the the grotesque eye sore that is modernist construction.
George Bernard Shaw: Playwright and Radical
George Bernard Shaw is a world-renowned playwright most known for his 1912 play Pygmalion, named after the Greek mythological account of the figure Pygmalion, written about by Ovid in his Metamorphoses. Shaw was also the first and foremost key architect of Fabian societal transformation. In the mid 1890s the Fabian Society began to be interested in subversion through playwrighting at the behest of Shaw. This eventually culminated in the founding of the Stage society in 1899 which aimed at producing plays solely for propagandistic purposes, with Shaw himself being among the playwrights whose plays, such as Major Barbara and The Doctor’s Dilemma, were promoted and quite sucessfully influential among the populace— stirring a fair amount of social incohesion with their subversive, Fabian nature. Shaw was concerned mainly with abolishing and transcending (aufheben) the traditional artistic movements, him being one of the biggest early promoters of ‘sexual liberation’ and the Modernist art movement.9 He famously expressed a desire to demolish and destroy every cathedral world wide in order that the traditional artistic critic be spited. After years of subversion through playwrights, the Fabian’s decided that they needed to ramp up their efforts and extend them to other areas of British society. It was in 1905 that various members of the Fabian Society began to draw up plans for what would later be known as the Fabian Arts Group. Established in 1906 to further expand upon the ideas of the recently created Leeds Art Club, the Arts Group was headed up by prominent Fabian Socialists George Holbrook Jackson, Alfred Richard Orage, and Eric Gill.10 Jackson openly stated in 1906 that the goal of these organizations was the promotion of Fabianism and exploitation of art, philosophy, religion, and politics; alongside making “an appeal to minds that remain unmoved by the ordinary Fabian attitute.”11 These organizations began to grow and become very influential throughout the British Isles, but to the Fabian mind, there exists no area of society that is to be left untouched by the hand of Fabianism. Thus, a year later, at the behest of Shaw and with capital provided by him, the already existing and popular newspaper publication, The New Age, was bought out by the Fabian society. Prominent British socialists such as H.G. Wells, who had not yet adopted Fabianism, were majorly influential via this publication and with the new change in management, we begin to see the beginning of Wells conversion from traditional Marxism to Fabianism in his writings. Shaw and other influential Fabians continued throughout the rest of their lives to subvert and infiltrate various other influential artistic organizations at the upper echelon of society; these include the Royal Academy of Dramatic Art, the Royal Society of Arts, the Society of Authors, the 1951 Festival of Britain (a largely influential Fabian event promoting “artistic expression” i.e. Modernist art), The League of Dramatists among many more. Widespread throughout these organizations was the realizing of the pathological nature of many of those involved in the Fabian Society. Ratiu say’s of the Fabian degeneracy “The all-pervading Fabian hold on society meant that the works of artists like Gill, a habitual practitioner of paedophilia, incest, and beastiality made their way into ‘respectable’ institutions like the London Electric Railway (later London transport), the BBC, the League of Nations, and even Westminster Cathedral. (The Fabian lefts advocacy of ‘liberty’ led to the formation of paedophile networks like the notorious Paedophile Information Exchange).”12 As it was in the American cultural revolution, especially in works of the French postmodernists who were heavily infuential in American education and society at large, we see the transference of a personal degenerate nature of people like Gill (his French equivalent being Foucault) into their subsequent artistic expression, which is then intentionally promoted en masse by the Anglo-American elite for the populace to consume— leading to the ultimate degeneration of the respective societies.
Conclusion
To conclude, I believe it is fair to say that the Fabian society was the key force in the degeneration of British culture throughout the late 19th and early to mid 20th centuries. The lengths to which Fabianism was spread were and still continue to be, vast and wide. Much more will be written in days to come about the cultural revolutions which followed the Fabian transformation of Britain by the same elitist establishment (beholden to the same monopoly capitalists as the Fabians). As for now, we can clearly see that this elite is wholly concered with advancing their internationalist aim of a world totalitarian state; or as Fabian Socialist H.G. Wells would phrase it: a New World Order, and that they are capable of using any means of achieving that very thing, whether it be the classical Marxian idea of violent and immediate bloody revolution, or gradual, Fabian transformation and inversion of the cultural praxis.
- Huxley, Brave New World, 1932 ↩︎
- Huxley, UNESCO: It’s Purpose and Philosophy, Pg. 5 ↩︎
- Ibid. Pg. 6 ↩︎
- Curtis, Commonwealth of God, 1938 ↩︎
- Ratiu, The Milner-Fabian Conspiracy, Pg. 12 ↩︎
- Quigley, Anglo-American Establishment, Pg. 312 ↩︎
- Ratiu, The Milner-Fabian Conspiracy, Pg. 69 ↩︎
- Ibid. ↩︎
- Ibid. ↩︎
- Ibid. Pg. 70 ↩︎
- Ibid. ↩︎
- Ibid. ↩︎
Connor from 2ndActuality 