Irish Government Music and the Dictatorship of the Banketariat

Ireland is run by gang of bamby thugs who are using music to wage psychological war on the working class.

There was a lively debate in the Soviet Union in the 1930s concerning the ideological content of art: could art be a vehicle for social change? What was the rôle of the artist in a revolutionary society? What were the principal features of bourgeois art? Music also came under scrutiny. The Soviets viewed much nineteenth-century music from Beethoven to Schubert, as reactionary and pessimistic: music which reflected the despair of bourgeois, capitalist society.

The Marxist view of culture was that it was a superstructure which emerged from the material, economic structure: the social relations of production generated a particular type of culture.

What is the relevance of this today? The Taoiseach(prime minister) and Tánaiste ( foreign minister) recently tweeted on X, congratulating a musical ‘artist’ called Bamby Thug. She is an Irish singer who is going to represent the country in the Eurovision Song Contest. The reader by now is disappointed. He looks up the artist in question. He sees that she is mentally deranged. She screams like a wild animal at press conferences. She says she is “queer”, and she wants to convert the world to witchcraft. Why, the reader will enquire, has the register of our enquiry, descended from lofty disquisitions about the meaning of music to commentary on pop culture? 

Obviously, popular music does not belong to the same category as classical. Pop music is the repetition of simple constructions. Classical music is the composition of complex structures. But the kind of question we want to ask here is best expressed in French: Bamby Thug de quoi est-elle le nom? What does Bamby Thug's name mean or signify?

A new genre of music

It represents a new sound, a new genre of music: IGM- Irish Government Music. IGM celebrates witchcraft, Satanic rituals and sacrifice; drug consumption, genital mutilation, rape, murder and death. The Marxist here might ask, What mode of production, what particular relations of production gave birth to this ingenious new music? Ironically, it came about from a concentrated combination of hyper-capitalism and quasi-Marxist cultural indoctrination. But the Marxist scholar might object here. After all, Marx and Engels described homosexuality as bourgeois decadence; and that was also the view of revolutionary communist societies in the twentieth century.

But it does represent cultural Marxism as it is commonly theorised. That is to say, a discourse where the hatred of the white, Christian male, replaces the hatred of the ruling class. It would probably be more useful to refer to this as post-modern decadence.

The class context is important in this discussion. In the Soviet Union, the goal of music was to elevate the proletariat's view of itself as the motor of history: sound should reflect the triumph of the dictatorship of the proletariat. What we have in IGM is the sound which reflects the triumph of the dictatorship of the banketariat. Ireland is, after all, the fiscal paradise of Europe. Banks live off usury. St Thomas Aquinas said that sodomites and usurers shared the same circle of hell. Usury is a form of sodomy because it abuses its victim and precludes natural increase.

So this is Ireland’s vision for Europe, Ireland’s “Eurovision”.IGM celebrates the sodomisation of the low-wage worker in Dublin, whose entire salary goes towards paying Larry Fink’s friends for the privilege of a roof over his head. IGM exults in the terror inflicted on Irish workers by imported parasites and convicted criminals. IGM laughs at Irish people. But it reaches a crescendo when the victim laughs at himself. 

IGM is brainless kitsch because its material basis is a society which not only oppresses working families, but whole notion of what it means to be human. As the etymology of the word kitsch suggests, IGM literally sweeps up the excrement of waif-strewn streets and flings it in our faces. It is not so much our funeral dirge but rather the infernal crackling and crushing of our bones in the horror of cremation.

We were never Catholic

Writing in the 1930s, Irish Jesuit intellectual Father Devane said that if Ireland were to build a Catholic state, then culture would be the most important battleground. Devane understood the power of culture to shape the minds of our youth. He admired the efforts revolutionary societies such as the Soviet Union and Fascist Italy were making to form youth movements as bulwarks against bourgeois decadence. In other words, Irish Catholicism, to survive in a liberal world, would have to become, in a sense, revolutionary. We say ‘in a sense’ due to the obvious paradox of Catholicism and revolution.

But Ireland was never a Catholic state. Father Fahy, another great intellectual, was furious with De Valera for his 1937 constitution which effectively disestablished the Catholic Church. Henceforth, the Catholic Church would have a ‘special place’, but it would remain separate from the State. This is the delusion of liberalism, that there is such a thing as a State without a religion, that one can be separated from the other. Within a generation, liberal ideas seeped into Ireland from British and American sewers. Instead of forging revolutionary, Catholic Leitkultur, the Irish became apes learning new tricks from dodgy liberal mesmerists.

There is a strong suspicion De Valera, that Spanish onion in an Irish soup, was Jewish. The JC tells us:

‘De Valera insisted that the 1937 Constitution include full protection and equality for minority faiths including Judaism, and resisted all attempts to make Catholicism the state religion. Irish fascists dubbed De Valera "the son of a Portuguese Jew".¹

The article in question is entitled: ‘The Jew at the centre of Irish nationalism’. The author is referring to Ben Briscoe, former Lord Mayor of Dublin, close friend of De Valera and also a close friend of Zeev Jabotinsky, the Jewish terrorist who helped found Israel by transferring Jews to Palestine. Jabotinsky’s ultra-Zionist ideology is the basis of the Likud party today. We need to be clear: Jewish nationalism is predicated on Jewish supremacy: it invariably requires the destruction of all other nations. Catholic nationalism is based on the idea of nation as an extension of the natural family: the former is based on hatred, the later on love.

Today, left-liberal political Judaism is the state religion of Ireland. And Bamby Thug is the priestess of that new religious music. And of course, Bamby Thug is politically engaged: we are told she is “pro- Palestine”. 

Ireland, Palestine and Population Replacement

This is the kind of Palestinophilia bankrolled by the international Jew Soros—left-wing political Judaism. The pro-Palestine voice must be insane, depraved and hideous because that makes the occupiers look good to sane minds. The cosmopolitan Jews work on destroying European countries with people from the countries the empires they control have invaded or bombed, while the Zionists work on expanding the colony. The agenda in both cases is population transfer and replacement, the replacement of the Palestinians by the Zionists in the Holy Land, and the replacement of Europeans by foreigners in the EU. It’s a lively form of klesmer— a carefully composed piece of Jewish counterpoint.

Ultimately, Éamon De Valera, “the son of a Portuguese Jew”is to blame for turning Ireland into a country ruled by bamby thugs. De Valera made Ireland “safe for Judaism”, safe for the propagation of error, safe for the return of the serpents banished by St Patrick!

IGM is psychological warfare. It is directed at children because the bamby thugs hate children: they hate innocence and purity, for one must become like a child to enter heaven. The bamby thugs of IGM want to drag you screaming with them into hell. 

In the upcoming European elections, the Irish people have more patriotic candidates than ever before. They are singing a new song about housing young Irish families, caring for our elderly; educating our people to love the true, the good and the beautiful. 

We need to turn off IGM cacophony and imagine a new form of music which reflects the aspirations and dreams of the Irish working class. IRM- Irish revolutionary music.

1. https://www.thejc.com/life-and-culture/books/the-jew-at-the-centre-of-irish-nationalism-cfdvxcyw