The Moral High Ground

by The Editor

The Establishment presents itself as moral and opposed to low things like prejudice, narrow-mindedness and bigotry. This arrogance prevents them questioning whether they have indeed created a multi-racial utopia.

Architecture, Urban Planning and Identity

by The Editor

The collective hatred of our nation’s past by the ruling elite takes practical form in their drive to erase many aspects of our culture, traditions and physical history – and is best illustrated by their physical erasure of our traditional architectural forms and its replacement with drab, soviet-style ‘accommodation’.

The Daily Telegraph and the UKIP Smear Campaign

by The Editor

Are you one of those people who remember when The Daily Telegraph was owned by Viscount Camrose and the Berry family? The days when it was objective, traditional, and had brilliant journalists writing for it, when common left-wing smears were a taboo and left to the tabloids? Do you remember when it boasted a circulation of over 1,000,000 daily? Today it is half that.

The Revival of English Classical Music

by The Editor

When we are being denied the celebration of our own culture, it is heartening to see a successful example of reviving our culture in the face of Establishment hostility. The English Classical Music Festival founded by Em Marshall has done that.

Falklands: European Parliament Confirms No Reason to Remain in EU

by The Editor

Given the intense debate on EU membership in the United Kingdom, one would expect European institutions to make a determined effort to show British voters that it is indeed in their interest to remain part of this organization. However, for the Continental elites, EU membership, and what they grandly call “European integration” is not something on which one may have a rational, democratic debate, in order to freely choose whether to take part. Instead, it is more akin to a cult or religion

Endnotes – Rare British chamber works, Vivaldi arranged by Bach, and a trip to Lochnagar

by The Editor

If there is one musical initiative in this country that has revealed a hitherto unseen, unknown and unappreciated dimension to our cultural understanding, it has to be the English Music Festival, held each year at Dorchester in Oxfordshire. The name, Norman O’Neill, is virtually forgotten today, and even for aficionados, he is little more than a footnote in specialist appreciations of English music, such as Michael Trend’s indispensable survey of our artistic renascence at the turn of the 19th and 20th centuries.