 Boom! Welcome back to the 21 convention 2022 day two of Orlando, Florida happening for the 16-year anniversary in Orlando at 21 Summit. Our next speaker is a returning speaker to the 21 convention for speaking last year. He's actually a classically trained artist, the first artists we've ever had speak at our events, and he's bringing order to chaos. He's returning in art throughout the West and throughout America. He's returning standards aesthetically to the arts and everything that we live in our culture. And I view his mission personally anyway, as making art great again, because today it sucks, but he's gonna fix it. So anyway, without further ado, please let me welcome back to the 21 convention stage, Arthur Kwan Lee. So once again, my name is Arthur Kwan Lee. I was blacklisted by the New York City Art Circuit, if you guys don't know this as well, and I'm also known for promulgating masculinity and men's religious reverence for God in the realm of the visual arts. And I don't really care about pickup. I don't really care about a lot of the superficial trappings of masculinity. I believe men is much more circumstantial, so if we change the actual fabric of culture, things will automatically change. So my focus is on culture and strategy. So I'm hoping I can inspire you guys to approach the culture wars from a different vantage point, which is the arts and entertainment. So art is dangerous, my friends, and good art will make a moral statement in the shape of either propaganda or iconography. And that iconographic work is provisioned, patronized and produced by men. And they recognize that beauty is a masculine responsibility. So in the lowest end, whenever you study art history throughout the ages, art has been used as a political tool to brainwash the masses. But in the highest end, art is used as a distillation for a civilization's moral hierarchy through color, symbol and form. So regardless of your political disposition, it's important to understand that your aesthetic input will always go somewhere. It's just a matter of being cognizant of where you are on your hero's journey, right? Man is inescapably aesthetic in the same manner man is inescapably religious. So my primary diagnosis here is that in the absence of the creative class creating morally upright art, in that absence, the market will be inevitably filled by collectivism. And you can see this time and time again throughout our history. It's always been the state utilized in the creative class or the artist trying to recognize God or distill this spiritual reverence towards the sacred. In the words of Claire Grichardian-Nehaz, culture is a root of politics and religion is a root of culture. You see, the creative class can draw the viewer in to shaping their identity and definitions of value, importance and beauty. And they use the most important communication tool available to all of us today, which is seduction. Right? Care is far more important than data. I think a lot of us as probably right-leaning logical thinkers, we kind of have a blindside to this. So I want us to start understanding that seduction is the most important tool. So I'm going to begin by showing you a series of architectural works by one of the most known painters in all of human history. At 18 years of age, this painter ambitiously moved to the art capital of the world at that time, which was Vienna. And he dedicated his life to the pursuit of what he called the aesthetic ideal. And he submitted his works across all these respected establishments in the land. You can see just by his works that he has this deep adoration for the very setting of Vienna. And just his time-consuming consumption alone shows this obsession with architectural imagery. All of these paintings are in either oils or watercolors. However, tragically, at the end of his career, he destroyed the vast majority of his paintings. And he writes that he felt much more mechanized and cathartic in his approach. Does anyone know the artist that I'm referring to here? Good guess? So I understand that it's very kitschy to do a comparative analysis to the Nazis. But I can tell you whether it's the poetry of Joseph Stalin or Mao, the cinematography of Kim Jong-il or the paintings of Francisco Franco. You know, all of these effective tyrants, they understood the arts in one shape or another, ready to be utilized to normalize values. They understood how to capitalize on the creative class in their country. And I know some of you are saying, yes, and the Nazis are also masters of propaganda. And that's absolutely true. But before we get into any of that, I want us to actually do a deep dive into the creative career of Adolf Hitler. And I'm going to ask you to be nuanced with me here, because this is a dicey subject. But look at this from a bird's eye view. Look at this in regards to strategy and culture, because there's a lot of modern parallels. So we all know about the Puritan desire to cleanse the world of all things non-German and the systematic genocide of 6 million Jews. And this text here being the ideological roots behind Nazism. But this text was appropriated by this man, Jorg Lanz. Because Chamberlain's argument is actually worth having. But the problem is Lanz takes it in a totally different direction in regards to all non-German races as a virus contaminating the Germans pure blood. So he begins to form this underground collective of young visual artists. And with his social status and his role politically, he sort of understood that he couldn't just directly, you know, perturb all this chaos. He had to do it with seduction. So everyone's here with me so far, right? Here's where it gets interesting. In 1909, Lanz is visited by a 20-year-old painter, Adolf Hitler, to join the Thule Society. Thule is what those morally inline group of artists become. And given their pension for erratic performance and installation art, they garner a lot of attention from very important social circles. And through consistent collaboration with this collective, Hitler discovers a very important lesson on control, which is that while the allocation of resources is done with political optics and shoulder rubbing, the process of normalization of values is done through the creative class. Because when you look at art, you know, it goes, it feels, your defense is down. So it's just going to consume you with values. So the Thule collective had a lot of occult practitioners, but it also had a lot of influential German elites, such as poet Dietrich Eckhart, writer Alfred Rosenberg, and the most important man in that room at the time, which is Rudolf Hess, and he was meant to be the original furor. So Hitler goes to fight in the First World War, while Eckhart and Rosenberg take charge teaching the German creative class anti-Semitism under the guidance of Hitler and Hess. The German streets are then covered with propagandistic posters illustrated by the artists of Thule, and the targeted intention was to start a culture movement to create this vitriol and disdain to the German people to be regarded as a justified temperament. Now when you look at these two posters here, we have a graphically designed poster with a silhouette, and then we have a charcoal drawing. So these are two separate artists. They're trying to hit different strokes here. And the one thing you have to understand about propaganda is the process of normalization, you have to look at it as the analogy of the boiling frog. It's always gradual. These posters started off very light, right? Maybe with a Jew with a big nose kind of thing, and then down the line it becomes something like actual Jewish rats eating a map of Germany of something of that sort. So it was gradual, little by little. What the CIA calls white propaganda becomes a black propaganda. We go from terms like toxic masculinity, to people talking about the patriarchy, to women frivolously announcing men are trash. That happens bit by bit. That's the process of propaganda. Hitler returns from the First World War. Hesse pushes Hitler to become an orator as a primary spokesman for Thule. So at this point in the story here, Hitler's prejudices of his youth, with his philosophy of Aryan mysticism, and his twisted German patriotism, all are beginning to take shape. So the Thule society then funds Hitler into exposure towards dramatic plays, theater productions, and political events. So whenever you see him speaking with all that vehemence and exuberance, that was trained. So he goes from a painter to a performance artist. Like look at this photo here. Dramatic, theatric background, high contrast lighting, body language and popping eyes. There are dozens of these photos because they got photographers to train this man. Because there's aesthetics being utilized. Hitler then visits the house of classical composer and theater director Richard Wagner. So Hitler grew up under a single mother, but he regarded Wagner as his, like, a meta-father. He looked at him as a superhero and the supreme prophet of Germany. So they watch her play Parsifal together. In Parsifal, you see this clear, it's like a romantic presentation crystallized in front of him, showing the German people as sacred and all non-Germans as descendants of apes. Right? Imagine you're sitting with this man, you regard as your, like, a father, a superhero figure, and you're watching his play together. Right? This is the moment he was reborn, and he writes that the final solution was an attempt to make Parsifal into a reality. So this is galactic stuff. This is not light. This is what art can do to a man. Because every single person here right now, you have something with your conscience of it or not that you regard as picturesque that you're walking towards. That's aesthetic. You know, that's, that's the process of how art can control you. So literally the first thing Hitler does when he gets his power is he closes down the art school Bauhaus. So Bauhaus today is a progressive center for the arts. You know, and when you look at the artists out of that program, like Kandinsky, Lasselmahol, Nagyar, Paul Klee, you know, we shouldn't be surprised. But the inception of the institution was ultimately dedicated to the artistic excavation of freedom-loving Germans. Look at how cool these guys look. See, these artists were not only against national socialism, but they were the prominent opportunity of a counterculture in Germany, as a sort of like a creative class together, coming together. And they had talent and they were patronized. And of course, this is unacceptable for the Thule Society. So that same year, in 1933, inspired by the successful shutting down of Bauhaus, works of literature, science, art and philosophy considered un-German are burned. By following through, Hitler has declared a war on reason itself and demands a religion of blood and unrest onto those that follow him. So what he's doing here is he's trying to reshape culture by controlling the artists and diminishing all other opposing talent. In the words of a celebrated German poet, ironically, Heinrich Heine, he writes that where books are burned, so two people will burn. And this is a forced declaration, right, to reshape our culture again. Very ominous display of things to come. Okay, so I want you to now imagine for me that you are one of those artists that I just mentioned. Whether you're inside the institution of Bauhaus or you're outside as a freelance artist, okay? I don't know what artistic medium you guys like, but let's say you have something in your heart that resonates with you. Playing the guitar, painter, sculptor, what have you. Now imagine you get a knock at the door from the police here. You're arrested for making such work, fired from any employment position held, and detained by the mainstream media. Now imagine after all that, you hear an all major German broadcast in art exhibition designed for ridicule and debasement. To display the cultural traitors of Germany, citizens are invited to the degenerate art exhibition. To be insulted, to be ultimately and shamefully canceled. This exhibition was shown across four years to an estimated four million attendees. No, four years is an agenda. You can get every household name artist from Da Vinci, Velasquez, Raphael together, and show them in Chelsea. And they may get two years, right? So four years, that's a more genius curation here. And I'll also add, as a side note, I wanted to mention that I actually do agree that the majority of modern art, you know, doesn't really hold much cultural value. But again, I ask you guys, let's be nuanced here, you know, because often the attraction to abstraction is a cop out for not having necessary skills or discipline to paint proper, right? But we're looking at retrospect now. The curation of what these, what the Nazis were doing can be utilized for better or for worse. Now, we're doing all this here because I want us to do a study on the monopoly of attention, study the attention market here, right? The Nazis understood, do not let those who do not have the same moral philosophy as you be positions of either power or talent. So let me say something bold going forward here. This is when it comes to beauty. Beauty is one of those self-evident realities here, right? You don't have to be trained, it speaks for itself. The same way a sense from something ugly is naturally toxic, right? So beauty will always expose hypocrisy of your enemies or the wisdom of your allies. And the reason why I'm saying this is all you have to do is look at the confiscated collection of the Nazis, especially Hitler, and see all these non-German works. I can give you a modern example here. So I'm originally from New York City. That's where I did most of my exhibitions. And whenever you go to the Metropolitan Museum of Modern Art, see these long lines of people waiting to get inside. We're talking about New York City, the Blue Church. They have graphic t-shirts on, you know, rainbow flags, smash your patriarchy, whatever you name it. And when they have to invest their own dollars to purchase tickets as capitalists, where do they spend all their time? Work produced by the patriarchy, right? Estimate a 12% attendance. This is in the Modern Art section. So when it comes to actually putting their money where their mouth is, they don't even want to see their own art, because it's ugly. So in the same regard, all these non-German works that Hitler collected, he put them in temperature-controlled wood crates like he kept them and preserved them very well. Okay, let's go to the next part of our story here. We're doing a large timeline on propaganda in the Nazis, guys, okay? So has anyone ever heard of the name Lord Ha Ha? There we go. So this is William Joyce. He was an Irish American fascist, and he was at that time dominating all the ratings of all these major German broadcasts. So imagine your favorite comedian. He's on Netflix, HBO, who do you name it, right? This is sort of the parallel to it. He was a very famous comedian at the time, and the Nazis somehow discovered his underlying intense passion for this Marxist ideal. So Hitler had Joseph Grobel's contact him and fund him secretly as a part of a Nazi propaganda branch, because Grobel's understood that if you show demonic hatred for another man, but rap it artistically and beautifully, the masses will normalize it for you. This is why you see viral trends on social media like TikTok and Instagram showing nothing but idiocy and degeneracy, but they go on in millions and millions of you, because they're showing good lighting, style, music production, sexual attractiveness is peaked, all of this is angled to be in regards to society a bad product, but it's very good marketing, so it gets across. Some of these celebrities and talent, they have a larger influence than every media outlet combined times 10. Beyonce has 328 million followers on Instagram alone. The rock has something similar, I believe it's in the 400s, right? The same reason why Hillary Clinton does a concert with Jay-Z is the same reason why William Joyce was utilized. It's a monopoly of attention. You guys see what's going on with Kanye and Tucker right now, right? This is what I'm talking about. When Kanye mentioned that there's so many people at my sphere, my level, who have the same beliefs towards Christ and the Father, but they can't speak up, can you imagine who he might be talking about and how powerful that would be? That would be instrumental cultural force. Having this type of talent on your side to speak up for your values, it flips the script on like any other, any of these information-dense podcasts, conferences, or community outreach available to us. The creative class has the most dominance in the attention market. Here are the last words of William Joyce here. In death, as in life, I defy the Jews who caused this last war, and I defy the power of darkness which they represent. I am proud to die for my ideals, and I am sorry for the sons of Britain who have died without knowing why. Can you imagine if we had talent with that type of conviction towards preserving the West? I mean, we know a little bit because we get canceled, right? Happened to me, my comedic friends Gavin McGinnis, Rosie and Barr, happened to actress Gina Carano. Once again, Kanye is a perfect example of this because someone at his level and his influence speaking up, they cannot allow that. They put him in a corner when it comes to all things political and social. So blending. Blending is a propaganda term, and essentially the reality is if you want to influence people, you can't just educate them. You need to entertain and educate them, and this is why the Nazis are masters of propaganda. So essentially a half fly is more effective than a full lie, right? So if I'm a reporter in Colorado and there's a wildfire that happens, okay? And if I just interject, falls to that it was started by a gang of white supremacists, then you're actually hearing a half truth, right? But the fears and anxieties from the actual fire will legitimize those imaginary races. And that's what's that's effective propaganda. You can never tell a full lie. You need to work like the bowling frog once again. Here are the modern Lord Ha Ha's, William Joyce's and all the narcissism. You know, these late night comedians are far more effective than any of the central media outlets that echo their same beliefs though. Because when you get off work in your late night, in your relaxed state, you're calm, you don't have your defense up and you're expecting humor, right? But it's actually just humor posturing, but they're actually feeding you the news, right? Whilst they're insulting and debasing the West. They're comedic counterparts here. Okay, so the reason why I gave you that timeline about the Nazis and propaganda is because they're, they were an intentionally designed social circle for the financial and political elite in Germany to commingle with their influential talent. And that's just simply brilliant. You know, I've gone to a lot of these gulls and fundraisers as an artist and I've often seen like Democrat donors with really big talent. And this is something they do openly. And we seem to be once again blindsided to this. And I don't think we understand that life imitates art. So if we're going to talk about the cultural wars, but not actually be in the culture, it's, it's delicious. Okay, so when I started this presentation, I made this contrast between masculine and religious art versus state oriented art, right? This aesthetic tug of war between collectivism and the soul, essentially. So the artist in the Thule society, like the philosophy of national socialism, and like the dominant culture here in the United States, it ultimately lives under the dark shadow of the matriarchy. Because yes, we've heard ad nauseam about the abusive father taking the archetype of the high chair tyrant. But you know, a man can commit heinous crimes against humanity, abuse his own progeny, be an embarrassment to his local community, whilst wearing the mask and veneer of equity and inclusion, only when he is possessed by the archetype of the overprotective mother. And the vaccine mandates forcing us to be isolated where masks was exactly that. This medical apartheid we all just experienced was feminism flexing its toxicity, utilizing the fetishized masculinity of state power. Which is why all the men in prisons were raised by single mothers and every statistical advantage of your child succeeding is stripped away or nullified with the absence of a father. This is why they want us to be quiet. You know, come to think of it, when you see every major cultural phenomena that has taken our culture by storm, it can be labeled under the blanket of unapologetic masculinity. You know, the veneration of rap culture in the mainstream media, the 45th president Donald Trump, the rise and fall of Alex Jones, and more recently also the character of Andrew Tate. The matriarchy, or I call it the matrix, needs strong men's silence. So I'm showing you guys some of my most favorite works of art and these are all produced by men of God, which is another important thing worth noting. The reason why this is all happening in the first place is because men are defining their masculinity so based on either the approval of the opposite sex or this stereotype that's been sold to us and that we've bought. And I can tell you as an artist, what's always been so evident to me is that the most masculine men were wholesome men of God. And mainly because they produce the most powerful art, the art that shakes you to your bones. You know, when you see some of these works in person, everyone here has seen the film Braveheart, right? And when he screams freedom and everyone gets chills and like that's sort of the feeling you get when you see this level of art in person. So I understand this is not a particular religious audience, but we'll call it the logos, solar idealism, however you can cushion to blow. But as St. Augustine states, beauty originates from God himself. And I've often shared it's not a coincidence that all the greatest masterpieces are undergraded by religious subject matter. And I believe it is the job of artists to resurrect that point in the dominant narrative. And we need to support these artists. Look, guys, the bottom line here is that I mean, I just believe that we've already lost a culture war. If we don't have our talent directly confronting other talent. And I see this regularly happening. And I'll say that all the artists who want to preserve the truth, the true, the good and the beautiful were essentially homeless right now. And the reason so is because the radical left has taken over all of these primary institutions. And men who are conscientious of preserving tradition and economic truths like those in this room, you guys should be the one influencing talent, right? Rubbing shoulders with creative people, because the artists will take it in and then they will distill it on the canvas or sculpture or musically, what have you. But it's really important that men of who care about saving the West spend time with talent and patronize and support them. So if there's any artists here, I encourage you to join the Genesis Council. So I started this art collective as sort of a inspired by the Thule Society, but via guerrilla warfare, you know, I don't want someone some reporters to take this in a different direction. It was a Nazi sympathizing Asian guy. You know, that's not what I'm trying to say at all. It's more that anything that they're utilizing once again can be done on the other direction. So we have comedians, we have actors, visual artists, sculptors, what have you and we're trying to fight for the culture together to save the West here. I brought some of my blood and fire paintings here. It's a mission oriented art series once again, not just to scale, because I'm trying to dismantle this pretentiousness that the left successfully catapulted in the art industry. You know, these are bold, striking, masculine and affordable. And an investment into a piece of art on your home permeates throughout your entire home and your family. And empty walls are such a waste. Art like masculinity and the church, my friends are suffering greatly. And it's our responsibility to do something about it. Thank you. That was quick. So I'll spend the rest of my time taking some questions. What's up, Elliot? Donald Trump is our talent. We need more actors like men on the scene, politically, as well to wouldn't you agree? Absolutely. Yeah, I mean, again, I remember, we discussed a little bit about this, Elliot. You know, I want to Elliot's show, and we're talking about how once again, when I mentioned that this modern phenomena of unapologetic masculinity, this it's always the pendulum swinging the other way. You know, you just look at the absence of fathers in this country today, not showing a wholesome example to their children. What happens is that, again, again, rap culture is as a phenomena is popular, the same reason Donald Trump is popular. Video competitive video games, rap culture and Donald Trump, they all have the same thing in common to swing the pendulum in the other direction as far as it can in a culture that does not have a wholesome example. And Trump wasn't even about the wall immigration or any of that. It was really just about bringing back a brash man, you know, that's really what it was, actually, if we're going to be honest about it. So I absolutely agree. We need more men who are willing to be offensive, who see the beast for what it is, essentially, willing to pay it off. So yeah, so I have also just recently started to look into the third Reich and Hitler and that type of stuff. And it is it seems like way back then, like, they spread this art, depicting Jewish people in a negative way. And I mean, it kind of seems that I mean, the art today is largely not very masculine. What are some ways? I mean, I'm not an artist, I really can't create art very well. What are some ways other than like supporting the artists, can we use to help fight against what is going on here? Because I mean, back in Nazi Germany, I mean, the Nazis one, one net, I mean, they had a big propaganda firm as well. That was like a publishing house to where Hitler published his book, Mein Kampf. How can we, what are some ways that you would say are good to fight against that so that we can? So you know, this is a very good question, because I often wonder why men are not speaking up? Like, why, like, why are we such cowards in this regard? And I realized once again, I said earlier, I believe so much that this is circumstantial. So if I'm a man who works in the office, a typical nine to five guy, okay, I'm not an artist, I work in the office here. And there's some HR lady, who can get me fired, while I have my kids here that I have to pay for their feed, you know, I'm saying like, I can understand that, that makes total sense. It's logical, right? So I would say that if you're not in the cultural front, you better be patronizing those in the cultural front. You know, I mean, because they're at least willing to have targets on their back to stand up for your values. And there's so many men here, you know, Elliot, Jeff, I mean, there's there's so many of us who are literally in the front lines, who are willing to go down with a sword. So you should be at least patronizing them in one way or another, because, you know, we want you to keep your job. What's the value? Do you agree that words are art too? Oh, 100%. Keep in mind, like, I'm not being medium specific here, you know, then why can't we say Jew? We can say Jew. Hi, Arthur. I'm a proud member of the Genesis Council. And I'm a writer. And I encourage you all to go check it out. It's an amazing group of people. My question for you is, in my talk, I talked about the social imaginary and the idea of how it delineates what questions are even possible to be asked. And what thoughts we're even capable of thinking. Can you talk about how art influences the social imaginary and can make unthinkable thoughts thinkable and so forth? Yeah, I think, well, let me first be, it's funny that Elliot asked about can words be art? Because let me first get medium specific here. I think a perfect example of this are comedians. Comedians de facto, whether they are aware of it or not, they're automatically free speech agents. Because they can be even, because even when a comedian believes in cancel culture, they're not funny, right? So my point is that comedians who, you know, in regards to stretching these boundaries without, it's like a good comedian, they'll take you to kind of like the edge here. And they'll kind of show you a little bit of the other side. And then you'll be able to laugh about it together. So an artist is able to, I would say this, a good artist, and this applies to painting as well, they can have, they can dissolve boundaries without dissolving their moral boundaries. And there's this weird stigma that I see in social culture where when we think of artists, we think of these orgiastic losers who are always drug induced and in a trance, right? That was incorrectly placated, but that's something a lot of people believe the stereotype. And, you know, for some reason, I've seen that in the left quite a bit, because I had 10 years in the gallery scene. And a lot of the left, when they're pardoned, they think that because we're open minded mentally in the creative space, we're also going to be open minded in our heart morally. But that's totally not necessary. Because my paintings are way better than theirs. And I'm a Christian man of God, you know, I have no idea if I answered your question, my friend. Okay. I would elaborate, I'd say that this video has the potential of being canceled or banned, or to say too much about Jews in a lot of times. Oh, I see, I see. Yeah, yeah. Yeah, I can't help but to maybe, maybe this is your last propaganda, but I watch your presentation and I'm a little angry about Jews. I don't want this video to be canceled, Ellie, and I love you. So we're going to talk about that later. But then they're controlling the theory. Yeah, absolutely. And use of words, we capitulate. So here's what I'll say, man. Until we have our own place to actually, you know, like it's this whole argument like, you know, Twitter is the left space, because that's where we all are, right? It's like until we have our own thing. Yeah, yeah, yeah. Right, right, right. One of the things is that we're living in a make-believe world that's all through screens. One of the most dangerous things that could happen on this planet is for men to actually fucking get together on how to hear the argument. But that's just a conversation. Right. We're dancing on their fucking screens with TikTok. Our screen is on Earth. That's why our hearts are on the ground. No, I hear you, and I hear this implication about the Jew world or order in their Elliott. But look, what I'll say about that is 100 percent, you know, real visceral art that is grounded in masculinity. It is essentially trying to distill our values and what we believe in and what we're willing to fight for. And this is the problem with all this widespread liberalism and big tech and even the NFT space and all this digital art. Like I even have problems with that as well, because it's going to this world of again, and collectivism in one way or another. And I believe that art is supposed to be sort of this transcendental mirror. It's supposed to be about the soul. It really is. Like, art should point upwards. You know, all the greatest art is really about God. Are there art communities physically living together? Yeah, but they tend to be like antipho-like groups. No, not the fags, the men. They're a bunch of fags. Not really. Artists like you, like the Genesis Council. No, no, no, no, no. I mean, the Genesis Council is online and it's everywhere, right? But there's nothing like that. No. Yeah, I just imagine that would be a good thing. Not that I know of. I mean, because Bauhaus was one, but again, they successfully shut it down. They didn't want anything to do with it. Art is a compound. Yeah, well, I mean, look, there's a lot of compounds like this, but they're definitely not organized in this regard. I will tell you, this is something hush-hush, but I am in the process with my business partner. We are going to be opening up something of this sort to bring all the based men and women of God one of, or maybe we should exclude a woman alien, but who want to make the most of it? Why are we having daughters this weekend? Okay, okay. Yeah, so that's something that is in the works, but it's too early to announce. So what's up, man? Hey, what's up, Arthur? Nice talk. So the question I have for you is, I've been in the Orthodox Church very consistently now for a few months, and anyone that's been in an Orthodox Church or even a Catholic Mass or anything like that can see and feel the beauty of the art and the iconography within the church instantly. Esthetics are powerful in there. Yeah. However, not everybody has the God-given talent to be an iconographer or an artist who are doing the kind of work you're doing. And so people have posed the question about how do you support that outside of financially? And my spin-off question from that is to you, would be within your own personal church and between the work you do, have you, well also to backtrack, I haven't really ran into a lot of artists in general, like within my community, church community. So have you been able to inspire other people to create their own art within your church and do you see that as even being possible if you don't have, say, a level of talent that you have? So I spoke at Michael Foster's County before Country in Ohio, and I ended up asking this audience of 500 people, raise your hand if you're an artist in the congregation, and all these hands went up. And I immediately recognized right there, this is so much, there's so much power just in that moment right there, how they can help their local community just with their artistry. So my first personal belief in this regard is that I personally think everybody actually has an artistic medium. It's just about finding your medium specificity. You may not be a painter. You need to experiment. This is what your parents should have been doing. Exposing you to all these different mediums, playing instruments, trying to ceramic wheel. I personally do believe, like the Greeks, that everybody has something that they can aesthetically appreciate. It's just a matter of, again, you need to discover what that is. And I was blessed because I grew up in a house with classics and we're all obsessed with the arts. So I mean, I genuinely am in bliss because what I do, I don't work for anybody and I get to be an artist full time. So I'm in heaven here. You see what I'm saying? Because I don't have to work for anyone. But that said, it's like finding that is so important just for a quality of life. So if you can't patronize, you know, then you gotta find your medium, man. You really do. Because often, this is kind of a cheat code I noticed because this is a men's conference and I told you I don't do the whole pickup thing, but I did notice I did have this cheat code because once a man genuinely finds something that he enjoys doing more than fornication, women fall in the right place. Sort of automatically. You don't have to be much cheese mo or anything about it because you're too busy having something as a priority above her anyways. So just by you walking with that discipline, they feel that, right? Just emotionally they can feel that. So that's kind of been always my vantage point. Like find what you love and chase that excellence, right? And ideally it's artistic because then you can influence culture. So yeah, so most of the good art is like really old and stuff and most of the modern stuff is really, in my opinion, it's like hard to interpret, hard to really see the beauty in that. In your opinion, like, what, so, what would you say really needs to happen to get like the art, like the ones that, like you can go to St. Patrick's Cathedral in New York City and just see this beautiful, like the beautiful cathedral there. What would you say needs to happen to make art like come back like as a, as a, Anyone here know who Yuri Bezmanov is? So Bezmanov's whole thing is that information and facts don't matter when you demoralize. And that's not only information, that's also aesthetics. The reason why people go into a gallery and they don't notice all this crap on the walls that is literally nothing but the basement is because they're demoralized. You see what I'm getting at? So it's a matter of reeducation. And then the first thing is you have to understand that anything in life that you have to get good at, especially art actually, is pedagogical. It needs to be passed down. You need to learn the rules or break the rules. You can't just say this is my voice. You haven't learned anything. So it's technical. So my first thing is understand that this is a polarity behind all things aesthetic. It's you're either on the left and you believe in aesthetic relativism or you're on the right. Well, I'm an anarchist, but you see what I'm saying? And you believe in universal standards, right? Things that are passed down is objectivity to this. And the characteristic that holds boundaries and standards is masculinity. That's where I like to come here. Because, you know, I'm not a trainer. I'm like, I'm a painter, right? But my whole thing is that that characteristic applies to the arts as well. So that's the main thing. It's not about your red Ferrari. You know what I mean? It's not about any of that. It's about recognizing that there's boundaries that we should not cross, not just for social cohesion, but for aesthetic standards. Everything, yeah. Hey, so I had more of a definitional question. So on a slide earlier for the Genesis Council, I've seen that counter propaganda was one of the goals for Genesis Council. And I think we all have this perspective of propaganda being like motive and narrative tied up in a lie, kind of like you put a bow on it and everything and you sell it to people, right? Well, to be someone that is creating art and with the value system and moral system, where you want to be honest, you want to be true, and in good conscience, how would we use counter propaganda to help fight against the opposition? So it's funny, because this is a men's conference, right? The solution to this is men have to be, we need to take ownership and be stronger because it's so directly linked. The creative class, the artists are always puppets. Like right now, as we speak, what is the most popular exhibition theme in the Lower East Side, right now in New York City? BLM Advocate Art, still beating that dead horse, right? So that's so linked to the social and political philosophy. So we just need to first make people recognize that I'm not trying to be an anarchist evangelical here, okay, but we need to first be able to understand that we need to, art needs to be about God again, man. That's kind of my go-to answer for a reason, because I just see it play out. And the Genesis Council, the first priority isn't so much about countering propaganda, the first priority is about iron sharpens iron, right? That applies aesthetically as well. So we're just artists coming together and making each other stronger artists, but supporting each other, not just for the quality and standard of art, but to also, we're a network. If I need a filmmaker, I'm not gonna go to some New York City guild, I'm just gonna call my boy Robert Cather, you know? He's got every degree on that too, so I'm good, you know? Yeah. Arthur, thank you for the talk. That was one of my favorite ones of the weekend. Thank you. I don't know if you were here yesterday for Pat Steadman's speech. He was talking about power versus force. And one thing he talked about is the gradient of the rate which people vibrate at. And in the book, power versus force, he talks about people such as Gandhi or Mother Teresa or Walt Disney, people that vibrated at a higher frequency. And I made this connection just now when Tom asked this question, how do we create this art that's beautiful? And you can completely walk right past the painting because it has no value because it was created out of guilt, shame, fear, anxiety. Those are low vibrating frequencies. So I guess I don't really have a question. I just kind of made that connection. So great things like Michelangelo, I have the School of Athens over my bed. Like I told you, that's a high vibrating frequency, piece of art. It's something aspirational to it. Like you said, things about God. That's an enlightened being. That's aspirational for all of us. So I just made that connection between the two speeches and I thought that was really cool. So I'll play with this language a little bit. When you say going to a higher frequency, I mean, here's the bottom line. We have to stop defining our masculinity based on, like we have to begin, pardon me, again, I know you guys aren't all religious here, but in a higher order, we'll start there. I'll look at that as like a stepping stone towards Christ. I'll be a little pagan here. I mean, we need to start understanding that we need to look at it beyond our ego centricity a little bit, okay? Because I mean, I'll tell you right now, the biggest problem with the hemisphere is that they still have the remnants of that pickup artist bullshit. And the reality is that I don't care, like I remember I met that one gentleman and he told me he has like $100,000 body count, whatever, I can't remember what it was, but you're still defining your masculinity based on the opposite sex. It doesn't matter. So if you define your masculinity based on a religious order, you'll get checked immediately, right? You'll know your place immediately. And I think there's so much power in that and there's so much cohesive power in that. And I've seen that visually manifest and one thing I want you guys to all recognize is that all these things we're talking about today and all these principles we're starting to embed in our minds, they also manifest externally in the visual forms as well. And it's really interesting to start seeing that. You'll actually go into galleries and you'll see an artist, I'll prove it to you. Go into any art show. If you see some vague, miasmic crap on the walls, I guarantee you, if you ask that person, do they identify as a feminist? They probably will. If you see something that takes skill, that is rendered, that requires discipline, I guarantee you they're, you know, they love this country. Something of that sort. I've seen that enough. It's not a coincidence that when people join the Genesis Council and they wanna join, they're all good because their values are online. Yeah, well I would say that the feminism movements are birthed out of anger or mistrust or guilt or even shame to some extent. So I can definitely see that. It's a really good book, by the way. But thank you for that. Thank you, brother. Hey Arthur, great talk. I just had kind of a comment that I'd like to get some of your thoughts on, which basically has to do with certain things I've read. Like when Picasso said an artist is a woman and there's also definitely a noticeable pattern among artists of eccentricity and chaos and confusion and all kinds of stuff. And sometimes religion has been fought against as overly constraining throughout different generations. And you know, some people say it's constraining to creativity and stuff like that. So I just wanted to kind of get your thoughts on, like where do the artists among us that have this crazy side land in this whole spectrum? Because obviously religion has a lot to do with order and discipline and you know, morality and structure. But what about the people in our groups that are like. Well he started with Picasso here. And let me first say Picasso was a serial womanizer who was constantly depressed and you know, he abused a lot of his partners as well. So he's regarded as this like amazing hire and he's a household name, you know. Brilliant marketing by the way, but he was a terrible person. And his art, let's be honest, this Cuba spirit that he entered, that's all post-modernism. You know, it's nothing actually attractive if we're gonna be honest with it. But that's the first part to it. The second part is this, when you talk about religious standards and artistry. So there's a gentleman in the Bible. The first person that is filled with the Holy Spirit and exodus is Bezalel. And Bezalel was, he's an artisan and he built a tabernacle. And he, you know, when these biblical scholars look at Bezalel, he regards himself as a spiritual servant. And I believe that is like a primary example of what an artist should look at themselves as. I know I'm a servant. I know that for a fact. I've been given this talent, you know. People talk about you have to either be fruitful and multiply, go out to the, you know, to the country, get away from the cities or you're gonna, you know, or become a monk, right? It's that monastic sort of tug of war. There's a third option that isn't really prominent. It's this idea of a Benedict, right? The blessed, you have a blessed talent. And like I'm in the cities because I want to use my talent for good. So, but you need to first understand what that implies because we're gonna talk, we're talking Christian right now. So you need to understand that you are, if you have this wild extremities in you, you gotta hone that down, man. Matter of fact, I believe like the best way to step your game up as an artist is you get under the squat rack because then stress management. You know, you're able to exert all this out there and you can hone into your discipline. That's my personal belief because that's what I do. I go to the gym just so I can chill out when I'm in the studio. You know what I mean? Yeah. And just to kind of finish off or conclude, I guess, but I definitely have noticed among like authors and other artists that they do tend to have some very chaotic lives, even till the end. I mean, even I think Da Vinci was known to have some pretty crazy stuff going on or the French author, Michel Hollenbeck, who has quite a chaotic life. So I just wanted to kind of get your thoughts on it. But yeah, you know what, they need it. Like the artists of good, they need patronage. That's all it is. Because like literally Thule and today, the radical left, they're literally like group, like they're creating, they're helping these people get to these monumental stages of fame. So that while we look at investment just by an ROI, you know, it's a sort of capitalist lens, which makes sense to a degree. The problem with that is that you don't actually control culture then. It left it empty for the left to come and just control all the dreamscapes through progeny. All right, thank you. Yeah. Sir, I just got a quick question. Sure. Was there a point when you were becoming an artist? I mean, I don't know if you were just born naturally gifted or started somewhere. Did you make it a point at a certain time that like I'm gonna start edifying Christ or God in my work? And when that happened, if you remember, did you notice like a difference? I was very blessed to have my father. He's like ultra-based, like super-based. Old school doesn't talk much either. Scary getting brought up by him. But his whole thing is unlike most Korean families, he didn't care that I wanted to get into art. Usually Korean culture, they'll say, get into the arts so that you can have a fulfilling life but focus on this for income and all this. But he said, go for it, do it. So I was, again, lucky. My mother's a composer, classical, dissertation in music theory, all about the arts. My father's a minister. So I kind of had this visual fusion, you know what I mean? So I was kind of, I just kind of got lucky in here. So when I went to art school, which do not do by the way, I'm here around all these people and they don't get it, you know? And then suddenly I'm getting all these solo shows. I was getting these shows at 18, for most people they get in their 30s, you know, in New York City and I'm here like, I don't need to show them my degree, I'm just making better art because beauty was speaking to people's guts regardless of their political disposition. Now when I began to speak up or when they saw me in a Trump hat and when they saw all this unfold, that was a different story, but the actual art can speak for itself. Thanks. You know what, what's up, Arnold? Hey, that was kind of my question. You mentioned the truth, the good and the beautiful. How does that help somebody who's already demoralized? How does that bring them out of it? Man, the word collateral damage sounds so harsh. Look, there's a saying, William Blake says that a fool who persists in his folly will become wise. Some people they have to fall on their face. That is the only way they will learn, you know? You can try to help, you know, you can't help anybody who doesn't want to help themselves. That's all it is. So like, you know, like me personally, I know this sounds harsh, but I actually don't even bother continuing a conversation with anyone if they don't acknowledge freedom of speech to write their firearms in the family. I don't care how they identify, but if they don't acknowledge fundamentals, I don't waste my time talking to them because they're just not there. So they just have to fall on their face when they suffer a little bit and they'll grow from it. But the door's open, of course, you know? But like, birds eye view, if you didn't care about the collateral damage again, you get rid of the welfare estate and abortion, everything, gender dynamics, everything will be fixed. If we wanted to do that, you know? So if we're just gonna be callous all the way, you know, that's just where my brain goes, you know? How do you use that as an anti-propaganda? Like, how do you make your art into propaganda? Like, well, understand propaganda, the whole point of propaganda is to make people revere the government as like, you know, this archetypal father, essentially, you know, allocate your resources to them out of pure trust. You're just making them feel like that's the norm. So the counter to that is making people recognize that there's authority. This is, by the way, I'm an anarchist because of this. This is why I'm an anarchist. I'm an anarchist because the Bible says there's no authority besides God. I believe if you're gonna truly be a Christian, you need to be an anarchist. Full stop. This is why I used to be a conservative and I graduated once I accepted it further. Because the state is authority, right? So it is in my belief that, man, the art needs to just, because again, you can make the most beautiful art and I've seen this happen when I had exhibitions. People will come in and it just doesn't hit them because their brains is not there. They're not seeing what people can see, you know? So you kind of just have to accept it and hope that they come full circle, man. There's people like that. If they're that lost, you know? I remember a very famous piece, and I mentioned this last year at 21, was a banana duct taped to a wall, right? That's so for $150,000. Like, the people who genuinely accept that as art, there's nothing you can do to help them, you know? So let them suffer, man. I love your art, so thank you. Thank you, brother, I appreciate it. All right, Arthur, round two question based on a response you gave someone else. So you mentioned the remnants of pickup artistry within the Manusphere space, and there's actually a Orthodox priest. I had the blessing of seeing live throughout our church. He came and visited his name is Father Hans Jakobzi, if anyone wants to look him up. And his whole thing is like, everything we're experiencing right now is in a way a spiritual war, and so he's one of the few priests that are actually out there fighting a spiritual fight from that perspective. And he basically says that the reason why a lot of men are addicted to pornography and sex addiction and going through multiple women and stuff is because they are filling a void in a way within themselves and because as men we're supposed to be creating, and you're basically with your work and it relates back to what you were saying to my question, which is like, everybody has a certain capacity, you have to find your own medium. And so I kind of drew those two conclusions from two separate conversations like someone else said when they came up here. But so do you feel like, so how? I couldn't have said it better. Okay. I really believe that, like, you know often you can call BS on this, that's fine, but it's my truth. But if you sincerely have an artistic medium as a man that you can channel a lot of these, this drive and this testosterone towards, you know, this romantic composition that you just get chills producing your own work towards, you don't even care about women as a, I mean, I'm still a man, I still have eyes, but I don't feel so thirsty. Like I remember when I would, my friends would come to see me in these exhibitions and, you know, imagine this young guy who's getting art shows for people twice as Asian and these groupies come around and all that, like I didn't even care. I don't need to waste my breath entertaining this. And it's, for me, it's because I have something that I love so much. And I know that because I've had this myself, and by the way, many of the artists in the council know exactly what I'm talking about. This is something that is under-looked, but it's a power that can be harnessed. You know, you can tame your dragon by having a good sword, what might be in the brush. You know? Yeah. Thank you guys.