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I’m Done with Modern Movies
For the life of me, I cannot remember the last time I saw a contemporary movie that was memorable in any way. Despite having access to both television and Netflix, I have found it virtually impossible to find a movie that I actually thought was worth watching.
It would be wrong, however, to lay the entirety of the blame on either mainstream television or Netflix. (Although it is entirely fair to argue that the litany of rubbish offered by television is a symptom of a dying medium). Rather, it is indicative of a problem that has pervaded the entire filmmaking industry. Modern filmmakers appear to be content with making defective movies. Movies that feature predictable stories, two-dimensional characters, and an over-reliance on visual effects.
This was not always the case. For years Hollywood was known for producing great, culture-defining films. The classical period of American cinema (which lasted from the 1930s to the 1960s) produced films like Gone with the Wind, Casablanca, and Ben Hur, among many, many others.
Similarly, the 1960s and 1970s saw a renaissance in film as filmmakers like Martin Scorsese, Stanley Kubrick, Steven Spielberg, Francis Ford Coppola, and many others reinvented and reinvigorated motion picture. This became the era that produced films like the Godfather, the French Connection, and the Good, the Bad, and the Ugly.
Hollywood’s total lack of artistic brilliance has been caused by three problems: the lack of originality, the lack of artistic merit, and the saturation of progressive politics in the industry.
Modern Movies Lack Originality
The most conspicuous problem inflicting Hollywood today is a total lack of originality. Neither their stories nor their characters appear to have any originality or depth whatsoever. Most films today are either remakes, reboots, sequels, are based on comic books, or are about superheroes. Now there is nothing wrong with these films in and of themselves, but when every single movie made is one of these five things, it starts to get a little tiresome.
The problem doesn’t stop at just narrative, either. Modern film characters are often two-dimensional and, as a result, rather dull. They are mouthpieces for certain ideological beliefs and are therefore often presented in entirely black or white terms. The problem with this, of course, is that people in real life are usually complicated. They make mistakes, hold contradictory views, and often behave in irrational ways. One would never see an obvious racist like Ethan Edwards (John Wayne) in The Searchers or Jett Rink (James Dean) in Giant. These characters, though they reflect real life, are just too politically incorrect, too human to be presented in any real or sympathetic manner.
A lot of this comes from the travesty that was Star Wars and the litany of ‘blockbuster’ movies it left in its wake. Taken on its own merits, Star Wars is an excellent movie. However, it convinced Hollywood’s film producers that they should devote more time and money to producing shallow, unsophisticated movies that movies of genuine depth and meaning.
Big blockbuster movies are all well and good, but I am an adult and I would like to see movies with a certain level of maturity.
Modern Movies Lack Artistic Merit
The next glaring problem (though it is one that many people without a knowledge of film or film history would fail to notice) is the total lack of artistic merit in modern filmmaking. The films of the past often prided themselves on their creative and technical brilliance. Modern filmmakers, by contrast, seem more than happy to rest on their laurels and make easy cliched movies.
With the possible exception of Martin Scorsese’s, The Aviator, I cannot remember the last time I saw a movie that made me marvel at its cinematography or that had a score which riled my spirit. I can, however, remember classic movies that managed to do all those things and more. I can remember marvelling at the cinematography in Lawrence of Arabia and sitting in awe of the chariot race – which utilised real stuntmen – in Ben Hur.
Modern filmmakers seem content with spending all their time and money on hey-wow visual effects and completely neglect the most important elements of film: story and character. As a consequence, they cheat their audience by offering sub-par films.
Modern filmmakers rely on visual effects because it is easier than trying to create compelling storylines and memorable characters. They choose to rely on computer-generated-imagery and blue screen because it is easier and safer (cowards) than using real stuntmen and practical effects.
The problem with all this is that the audience knows it’s being cheated. The car chase in Bullit looked so realistic was because, well, it was realistic. It used real cars driven by real people on real streets. A lot of modern movies, by contrast, look fake because, well, they are fake.
Modern Movies are Left-Wing Propaganda
The third problem, and the one most egregious, is that Hollywood has become a propaganda outlet for progressive politics. They produce films that are so ideologically driven that one can virtually predict everything that is going to happen before it occurs. And, much like people who have been ideologically possessed, these films tend to be so boring they’re not worth wasting your time on.
The fact that Hollywood has become infected with ideologically possessed, far-left individuals is, to some extent, understandable. Filmmaking is an enterprise that attracts highly creative people who, for the most part, tend to be on the political left. The problem, rather, lies in the fact that all the films Hollywood now produces carry a left-wing bias.
Hollywood has become an echo chamber in which “woke” vies are communicated and no other views are allowed to get in. Those associated with the movies compete at the Oscars and at the Academy Awards to see who can be the most virtuous. And they criticise and demean anyone who doesn’t agree with them. They are like Marie Antoinette saying “let them eat cake” as the peasants starve to death in the streets. They are completely out of touch.
The problem with the films being produced today is that their left-wing bias has made them completely shallow and totally predictable.
THE LEGACY OF MARGARET THATCHER
Margaret Thatcher (1925 – 2013) is a titan of world politics. A conservative heavyweight who effectively championed the conservative ethos in the public sphere and, in doing so, managed to transform her country for the better.
Margaret Thatcher was born Margaret Hilda Roberts on October 13th, 1925 above a green grocer’s store in Grantham, Lincolnshire. Thatcher was an ambitious and driven student who won scholarships to Kesteven and Grantham Girls’ school and Oxford University. After university, Thatcher worked as a chemist but abandoned it to study for the legal bar after meeting her husband Dennis Thatcher (1915 -2003), whom she married in 1954. Thatcher became a fully qualified lawyer that same year. Thatcher became the Conservative member for Finchley in 1959.
During her rise to power, Thatcher was not massively popular. Facing oppositions because of her gender – when she was elected she was one of only twenty-four female Parliamentarians (out of six-hundred members) and, even more unusually, was the mother of twins – and her social class. The Conservative Party had not changed its structure since the 19th century. She was often denounced as the “grocer’s daughter”, one conservative politician even commented that she was “a good-looking woman without doubt, but common as dirt.” In spite of these barriers, Thatcher managed to rise through numerous junior ministerial positions to become the shadow education spokeswoman in 1967. She became the Secretary of State for Education and Science when Edward Heath (1916 – 2005) became Prime Minister in June of 1970. Thatcher became the leader of the Conservative Party in 1975.
Margaret Thatcher was conservative Prime Minister of Great Britain from 1979 to 1990 and in her time, she changed Britain and helped define the times she lived in. Thatcher became Prime Minister after defeating James Callaghan (1912 – 2005) with a seven percent majority. There were many reasons for the conservative victory, the main ones being economic failure and the lack of union control. Thatcher was seen as aggressive but also as something of a paradox. She was the first scientist in Downing Street and was enthusiastic in pushing Great Britain’s technological innovations forward, but was an anti-counterculture revolutionary who opposed trade unions and the socialism they represented.
During Thatcher’s first term, however, it was the economy that needed the most attention. By the late 1970s inflation in Great Britain had peaked at twenty percent due to rising oil prices and wage-push inflation. The once mighty nation had become known as the ‘sick man of Europe’. According to the Organisation for Economic Cooperation and Development, by 1980/81 Britain was suffering from downward trends in employment and productivity. The great industrial cities were in decline. Glasgow, for example, had seen a decline in its population from 1.2 million following World War One to eight hundred thousand in the early 1980s. In some areas of Glasgow, male unemployment would remain at between sixty and seventy percent throughout the 1980s. The director of the Department of Applied Economics, Wayne Godfrey, stated on the prospect of the 1980s: “it is a prospect so dreadful I cannot really believe there won’t be a sort of political revolution which will demand a basic change to policy.”
Inflation, particularly cost-push inflation, was seen as the biggest enemy. However, Thatcher knew that tackling inflation would require restricting the flow of money and causing mass job losses. It was a sacrifice she was willing to make. The government had a three-step process for tackling the issue. First, they increased interest rates. Second, they reduced the budget deficit by raising taxes and cutting government spending. Third, they pursued monetarist policies to control the supply of money. Despite great job losses, the economy slowly improved over Thatcher’s first two years in power.
In 1981, however, her policies caused a recession and unemployment peaked at three million. In fact, unemployment would remain a characteristic of the 1980s. Following the recession, Great Britain saw a period of economic growth with inflation dropping below four percent, although unemployment soared to 3.2 million before easing off a little. It is also of note that despite the mass unemployment, average earnings were, in fact, rising twice as fast inflation and those in employment had it better than ever. The Secretary of Transport, David Howell (1936 – ), stated in 1983: “if the conservative revolution has an infantry, it is the self-employed. It is in the growth of the self-employed, spreading out to small family businesses, that the job opportunities of the future are going to come.” Thatcher’s biggest achievement in her first term, and the one which endeared her most to the British public was the Falklands War. Following the Argentinean surrender in 1982, Thatcher stated: “today has put the great back into Britain.” The Falklands War rekindled the British public’s pride in her navy and in the nation, itself.
The Conservative Party won the 1983 election by an overwhelming majority. Thatcher had become the uncontested leader and saviour of the Conservative Party. Thatcher used the victory as an opportunity to change the configuration of the Conservative Party and reshape it in her image. She fired Foreign Secretary, Francis Pym (1922 – 2008) and sent the Home Secretary, William Whitelaw (1918 – 1999) to the House of Lords. Having ended the ancien regime, she refilled the front bench with dedicated Thatcherites. Only one old Etonian remained: Lord Chancellor Hailsham (1907 – 2001), who was eighty-five at the time. Thatcher then embarked on a policy of privatisation and deregulation with the intention of decreasing dependency on the government and encouraging personal responsibility. Critics accused Thatcher of attempting to dismantle the welfare state and refusing to provide a base safety net for those down on their luck. Unusually for an anti-socialist, Thatcher established the Greater London Council along with six metropolitan councils in an attempt to control local councils from Whitehall.
The conservatives won the 1987 election having lost twenty-one seats, but with a majority of more than one hundred. Thatcher focused on social issues and embarked on a program for social engineering. This was a seven-step process. First, the program actively encouraged women to stay at home and look after their children rather than join the workforce. Second, the program suggested putting the care of the old, unemployed and disabled into the hands of families. Third, the program suggested helping parents set up their own schools. Fourth, the program suggested providing support for schools with a clear, moral base, including religious schools. Fifth, the program suggested creating a voucher system to encourage parents to send their children to private schools. Sixth, the program suggested training children in the management of pocket money and the setting up of savings accounts. Seventh, the program wished to alter the way the public viewed wealth creation so that it would be seen as an admirable pursuit. Thatcher’s tenor as Prime Minister ended when she stood down from cabinet after her party refused to support her in a second round of leadership challenges. She was replaced by John Major (1943 – ).
After leaving office, Thatcher wrote two memoirs: The Downing Street Years (1993) and The Path to Power (1995). Thatcher was known as many things, including ‘The Last of the Eminent Victorians’, ‘New Britannia’, and, most famously, ‘The Iron Lady’. However, despite her many years in politics and her eleven years as Prime Minister, Thatcher was never a populist. This was probably because of her deep personal convictions which were stronger than her fear of the consequences. Thatcher did, however, demand and receive respect from the public. Satire almost always focused on her husband Dennis rather than on her. It is also worth noting that in her time Thatcher never lost an election. As a politician, Thatcher revolutionised political debate, transformed the Conservative Party, and altered many aspects of British life that had long been deemed permanent. Paul Johnson (1928 – ), a prominent English journalist, stated on Thatcher’s abilities as a politician: “though it is true in Margaret Thatcher’s case, she does have two advantages. She did start quite young. She does possess the most remarkable physical stamina of any politician I’ve come across.” In her time, Thatcher was determined to curb government subsidies to industry and to end the power of the trade unions. She made the trade unions liable for damages if their actions became unlawful and forced the Labour Party to modernise itself. Margaret Thatcher was an impressive and important Prime Minister whose political career and personality helped change Great Britain for the better.
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FATS DOMINO
This week for our cultural article, we will be celebrating the life of Fats Domino: the legendary New Orleans rock ‘n’ roller who died last Tuesday at the age of eighty-nine.
Fats Domino was born Antoine Dominique Domino, Jr. on February 26th, 1928, in New Orleans, Louisiana. He was the youngest of Antoine Caliste Domino’s (1879 – 1964) and Marie-Donatille Gros’ (1886 – 1971) eight children. and introduced him to New Orleans’ music scene, which would be a major influence on his later music. Fats’ came from a musical family. At seven-years-old, he was taught to play the piano by his brother-in-law, Harrison Verret (1907 – 1965). Additionally, Verret also introduced Fats to the New Orleans’ music scene, which would become a major influence on his later music.
By the age of ten, Fats was performing as a singer and a pianist. Four years later, he dropped out of school completely to pursue a career in music. To support himself during this time, Fats took on odd jobs – factory work, hauling ice, and so forth. By 1946, Fats had begun playing leading piano with the well-known New Orleans bass player and bandleader, Billy Diamond (1916 – 2011). It was Diamond who gave Domino the nickname, “Fats”. Years later, Diamond would reminisce:
“I knew Fats from hanging out at a grocery store. He reminded me of Fats Waller and Fats Pichon. Those guys were big names and Antoine—that’s what everybody called him then—had just got married and gained weight. I started calling him ‘Fats’ and it stuck.”
Diamond’s audiences were impressed by Fat’s rare talents and by the end of the 1940s the New Orleans’ pianist had attracted a very substantial following. As a musician, Fats was versed in numerous musical styles – blues, boogie-woogie, ragtime – and had drawn inspiration from pianists like Meade Lux Lewis (1895 – 1964) and singers like Louis Jordan (1908 – 1975).
In 1949, Fats met his long-term collaborator, Dave Bartholomew (1920 – ). Around the same time, Fats signed a record contract with Imperial Records. Fats’ first song with the label, The Fat Man (a play on his own nickname), would sell a million copies and reach number two on the Rhythm and Blues Charts.
Fats stood out as a performer due to the combination of his baritone voice, unique piano-playing style, the saxophone rifts of Herbert Hardesty (1925 – 2016), and the drum after-beats of Earl Palmer (1924 – 2008). The release of Ain’t That A Shame in 1955 exposed Fats to the mainstream public and helped make him the most popular African American rock ‘n’ roll artist. His upward trajectory continued with two film performances in 1956: Shake, Rattle and Rock, and the Girl Can’t Help It, and the recording of five top-forty hits, including, My Blue Heaven, and Blueberry Hill (which reached number two).
By the early 1960s, however, Fats music had lost much of its original popularity. In 1963, he moved to ABC-Paramount Records and parted ways with his long-time collaborator, Dave Bartholomew. The arrangement would be short lived with Fats parting ways with ABC-Paramount, returning to New Orleans, and rekindling his professional relationship with Dave Bartholomew in 1965.
Fats and Bartholomew would collaborate until 1970, culminating in the 1968 cover of The Beatles’ Lady Madonna (ironically, a tribute to Fats Domino in and of itself). During this time, Fats failed to experience significant chart success. In 1986, Fats was inducted into the Rock and Roll Hall of Fame as part of their inaugural lists.
Fats retired from touring following a health scare in Europe in 1995. Outside of the occasional performance at the New Orleans’ Jazz and Heritage Festival, he lived a mostly private life with his wife, Rosemary Hall (1930 – 2008), and his eight children. In 1998, Fats accepted a National Medal of the Arts from President Bill Clinton (1946 – ).
Fats refused to leave New Orleans – and abandon his sick wife – during Hurricane Katrina. His home was badly flooded and he lost most of his possessions. He was rescued by the Coast Guard on September First. Following the disaster, Fats released Alive and Kicking and donated a proportion of the sales to the Tipitana Foundation which helped New Orleans’ struggling musicians.
Following the album’s release, Fats retreated back into private life and largely shunned publicity. In 2008, Rosemary Hall, his wife of fifty years, died of chronic illness. Fats joined her on October 26th, 2017, at the age of eighty-nine.
Fats Domino must be credited as a key pioneer of rock ‘n’ roll. Together with Jerry Lee Lewis (1935 – ) and Little Richard (1932 – ), Fats style of piano playing helped define the new genre of music and inspired dozens of future musicians. No wonder The Rolling Stone Record Guide likened him to Benjamin Franklin (1706 – 1790).
ROCK IS MASCULINE
This July, Elvis Presley’s first single, That’s All Right, turned sixty-three years old. For the youth of the time, Elvis Presley’s arrival marks the cultural shift away from the Bing Crosby and Doris Day mentality of their parents’ generation to one that is centred around youth and adolescence. The repercussions of this seismic shift can still be felt.
Like all cultural phenomena, rock was denounced as a passing fancy at best, and satanic at worst. And like all cultural phenomena, many have failed to grasp its masculine cultural symbology: while there have been some great female rockers (Grace Slick, Suzi Quatro, Joan Jett, Deborah Harry, to name a few), rock has primarily been the manifestation of raw masculine energy and lust.
Rock music owes a lot to the myths and folklore of the past. In his book, the Secret History of Rock ‘n’ Roll, Christopher Knowles postulates that rock music is deeply rooted in the mythological figures of Orpheus, Cybele and Attis, Isis, Mithra, the Druids, and so forth. Knowles writes:
“What did the Mysteries offer that other cults of time did not? Almost exactly what rock ‘n’ roll would, thousands of years later. Drink. Drugs. Sex. Loud music. Wild pyrotechnics. A feeling of transcendence – leaving your mind and your body and entering a different world, filled with mystery and danger. A personal connection to something deep, straight, and impossibly timeless. An opportunity to escape the grinding monotony of daily life and break all the rules of polite society. A place to dress up in wild costumes and dance and drink and trip all night.”
Nowhere is this sentiment better expressed than in heavy metal. A genre whose thematically operatic power is drawn from themes of violence, madness, mythology, and the iconography of horror. Central to heavy metal music are fantasies of masculine virtuosity and control. According to Robert Wasler, author of the book Running with the Devil, “metal songs usually include impressive technical and rhetorical feats on the electric guitar, counter-posed with an experience of power and control that is built up through vocal extremes, guitar power chords, distortion, and sheer volume of bass and drums.”
Originally, the term ‘rock ‘n’ roll’ was an African American euphemism for sexual intercourse. Blues music, one of the roots of rock, contains a plethora of examples of the raw masculine aggression and lust that later rock music would allude to. Muddy Water’s Hoochie Coochie Man, for example, utilises the theme of masculine self-mythologization:
“The gipsy woman told my mother
Before I was born
I got a boy child comin’
He’s gonna be a son of a gun
He’s gonna make pretty women’s
Jump and shout
Then the world wanna know
What this all about
But you know I’m him
Everybody knows I’m him
Well you know I’m the hoochie coochie man
Everybody knows I’m him.”
In a similar way, Muddy Water’s Mannish Boy, itself a response to Bo Diddley’s I’m a Man, continues the theme of masculine self-mythologization:
“Now when I was a young boy
At the age of five
My mother said I was gonna be
The greatest man alive
But now I’m a man
I made twenty-one
I want you to believe me, baby
I had lots of fun
I’m a man,
Spelt ‘m’, ‘a-child’, n’
The represents ‘man’
No ‘b, o-child, y’
That spells ‘mannish boy’.”
Sex forms another important theme in blues music. Waters’ song Got My Mojo Working features themes of hoodoo – an African American form of folk spiritualism – and seduction. Other songs, such as Screaming Jay Hawkins I Put a Spell on You, focuses on the raw, animalistic qualities of lust:
“I put a spell on you
Because you’re mine
Stop the things you do
Watch out!
I ain’t lying, yeah
No running around
I can’t stand
I can’t stand, no put me down
I put a spell on you
Because you’re mine
Watch out, watch out
I ain’t lying
I love you
I love you
I love you, yeah
I don’t care if you don’t want me
I’m yours right now
I put a spell on you
Because you’re mine.”
Masculinity and sex have always been themes in rock music. These themes manifest themselves most peculiarly in the quasi-religious experience of rock concerts. No one who has seen footage of Woodstock or its darker equivalent, Altamont, can fail to notice the undercurrents of tribalism present at these events. As one observer noted: “one of the most interesting developments in the United States in 1956 was the behaviour of hundreds of thousands of mostly white, middle-class girls, who screamed, danced, and sobbed to the point of ‘enthralment’, ‘near hysteria’, ‘mass hysteria’, or ‘pandemonium’.”
Rock songs of the 1960s, 70s, and 80s contained a plethora of references equating masculinity with sex. Dion’s the Wanderer is about a cad who roams ‘from town to town.’ Bob Seger’s Night Moves refers to a woman’s breasts – a natural object of male desire – as ‘points all her own sitting way up high, way up firm and high.’ More darkly, the Rolling Stones’ Brown Sugar contains themes of slavery, rape, interracial sex, underage sex, physical abuse, and drug taking. Then there are the music videos, many of which were banned from play on mainstream media. Duran Duran’s Girls On Film features nudity and mud wrestling. Queen’s Fat Bottom Girls features nude women riding bicycles around a sport’s track.
And, of course, it is not unusual for rockstars to enjoy favouritism from the opposite sex. Indeed, sexual prowess and adulation from women form an important theme in rock lore. Groupies of heavy metal artists, for instance, are not just female fans but are seen as extensions of the musician’s artistic identity. Women and access to sex are almost gifted to the rock star, much like the harems of the Ottoman Sultan, the mistresses of European monarchs, or the concubines of Chinese Emperors.
Rock music is the modern reincarnation of ancient myths and folklore. It relies on the same motifs and themes and therefore has a similar effect on the human psyche. As a result, rock music and mythology and folklore share many of the same tropes. Rock music glorifies masculine energy and lust through symbols and metaphors. It raises the rockstar to an exalted position and then confers benefits upon him by giving him greater access to women and sex. This, in turn, gives the rockstar an almost deific quality. Feelings of unity and tribalism are expressed through the quasi-religious nature of the rock concert. The long-lasting popularity of rock music arises from its ability to give expression to ancient symbols of masculinity, and in its capacity to provide an outlet for the more repressed aspects of our nature.
WHEN ARE WE GOING TO TREAT DIVORCE AND FATHERLESSNESS AS THE ISSUE IT REALLY IS?
Since the sexual revolution, society’s attitudes towards sex and the family have been shifting more and more to the left. Today’s sexual philosophy has its roots in the prevailing social forces of the 1960s and 1970s. These forces have challenged the traditional institutions of monogamous marriage and the traditional family, seeking to replace them with their own utopian values.
The introduction of No Fault Divorce in America in 1970 signalled the most immediate sign of the cultural shift. Previously, people got married young and stayed married. Divorce was a social taboo. Shifting cultural philosophies and changing laws have altered this reality. Conservative commentator and Daily Wire editor, Ben Shapiro, blames the rise of divorce on a lack of religious fervour among young people, and the existence of a ‘divorce culture’ which celebrates serial monogamy and single parenthood.
A natural consequence of the decline of monogamous marriage and the traditional household has been the rise of the single parent family. In the past children were born within the confines of marriage. This is no longer the case, as statistical comparisons reveal: in 2015, 40.2% of live births were to unwed mothers, compared to only 5.30% in 1960. Similarly, in the United Kingdom in 2013, 46.5% of children were born to unwed mothers, compared to 11% in 1979. In 2014, a Pew Research poll found that fewer than half of American kids lived in a home with their mother and father, compared to sixty-one percent in 1980, and seventy-three percent in 1960. Across the pond in the United Kingdom, it is believed that a quarter of all families are single parent families.
Of course, single parent families are never going to be a concern for the left. The traditional family represents an obstacle to the vision of socialist utopia the left holds so dear because individuals care more about their own families than they do about the wider community. Furthermore, it is much more difficult for the state to control a woman who has the financial, social, and emotional support of a loving husband. As Ben Shapiro notes: “the left is never going to recognise that broken families are a problem because it is one of the goals of the left to break families. Historically speaking, if you read [Karl] Marx and [Friedrich] Engels [authors of the Communist Manifesto], they do not like the traditional family, they think that the traditional family is a bulwark against an overarching, brutal state.”
A further manifestation of the decline of monogamous marriage and the traditional family has been the increase in fatherless children. Fathers today have been relegated to the role of ‘accessory parent.’ We no longer recognise the spiritual and psychological influence fathers have on their children. As a consequence, fathers are considered people children spend time with on designated visitation days rather than a permanent and necessary influence in their lives. The consequences of this attitude have been disastrous.
Psychologically, children from single parent and fatherless families are more likely to suffer cognitive, social, and emotional problems and are more likely to be emotionally, physically, or sexually abused. Fatherless children often struggle with their emotions and suffer episodic bouts of self-loathing along with a diminished sense of self and a lack of emotional and physical security. Many fatherless children have reported feeling abandoned because their fathers were not in their lives. No wonder drug and alcohol use and rates of incarceration soar in children whose fathers are absent.
Fatherless children also suffer socially: not only in the wider community but in their personal relationships as well. Children are often left to fend for themselves because their sole parent and breadwinner is away from home. This has several consequences: it forces the child to take on adult roles prematurely. Older siblings are expected to take care of younger siblings, and younger siblings are expected to learn from their older siblings. Young boys often feel the need to assert themselves and take on the role of the “man of the house” causing power struggles between himself and his mother. Girls often feel more maternal earlier in life (especially when they’ve been tasked with looking after younger siblings). As adults, these children struggle to maintain long-term relationships and, in a cruel twist of fate, are more likely to end up divorced or as single parents themselves. Both men and women are more likely to engage in promiscuous behaviour. A natural consequence of this is an increased risk of pregnancy in teenage girls. Often they struggle to raise their own children because they do not have two parents upon which to base their parenting style. In the wider scheme of things, fatherless children are more likely to struggle at school and drop out.
Economically, they are significantly more likely to suffer economic disadvantage and, in extreme cases, outright poverty (including homelessness). As a result, many of these children live in poorer neighbourhoods, struggle to have their basic needs met, and are disadvantaged in school. As adults, fatherless children are four times more likely to experience long-term unemployment, remain welfare dependent, and have low incomes.
It should be clear that our current relationship system is not working. We must destroy the cancerous influences of feminism and Marxism in the social sphere. We must use cultural means – media, TV shows, movies, novels, magazines, etc. – to properly educate the masses about relationships and sex. On the legal and political front, divorce must be made harder to obtain. No Fault divorce, a cancerous law, must be replaced with a system of Fault Divorce which is fair to both men and women, and which dignifies and upholds the integrity of the institution of marriage.
King Alfred Press 