Samwise

946 posts

Samwise

Samwise

@Samwise04726011

Gardener, friend, assistant ring-bearer

Katılım Temmuz 2020
659 Takip Edilen34 Takipçiler
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Sam Ashworth-Hayes
Sam Ashworth-Hayes@SAshworthHayes·
Work illegally from an Asylum hotel and between the generous sponsorship of the British state and the loopholes that let you work for delivery companies, and you can enjoy a lifestyle that law-abiding taxpayers would need to earn £50k plus to achieve telegraph.co.uk/business/2025/…
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ɖʀʊӄքǟ ӄʊռʟɛʏ 🇧🇹🇹🇩
The central argument seems to be ‘posting without comment is itself a comment’. My view is that if you advocate for this kind of world historical transformation you have to actually be able to defend it, you can’t just get upset when people notice the very visible changes, you can’t have it both ways. “We want this unprecedented change but also nothing is changing at all” seems to me a very Bad Faith position. You can read a longer essay exploring critiques of ‘Yookay Aesthetics’ below:
ɖʀʊӄքǟ ӄʊռʟɛʏ 🇧🇹🇹🇩@kunley_drukpa

THOUGHTS ON THE ‘YOOKAY’ AESTHETIC - WHY MODERN BRITAIN IS SO AESTHETICALLY DISORIENTATING 🧵 Britain’s ongoing demographic transformation has in recent years made unavoidable in increasingly larger parts of the country what I and others have called the ‘Yookay Aesthetic’ - a historically novel aesthetic fusion between the aesthetics of disparate new migrant groups, the aesthetics of the worldview that facilitates their immigration into Britain (called variously ‘neoliberalism’, ‘late liberalism’, ‘immigrationisme’, ‘wokeness’ and ‘gay race communism’) and the aesthetics of the Historical Britain receiving the migrants. Its relatively recent aesthetic reification as a distinct new ‘thing’ has produced a fair few quite pronounced emotional reactions and I wanted to comment on why that is, the particular elements of the emerging ‘look’ that people find so provocative. Many people have remarked that one of the most defining qualities of the aesthetic is how jarring the effect it produces is, its incongruity. The incongruity is something like this - a Samurai in front of the Pyramids, an Aztec on the Great Wall of China, a Bedouin in the Sistine Chapel. The non sequitur effect is jolting, disorientating. Not because it is inherently impossible for distinct worlds to ever ‘cross over’ but because we have such established and normative standards for what we expect to constitute those worlds that the effect when they do meet is discombobulating. That discombobulating effect is of course not a fact about the world, about their inherent incompatibility - the value judgement that the encounter is incongruous or incompatible is an intersubjective one - but it doesn’t emotionally diminish that discombobulating intersubjective valuation. The effect is further compounded too if in response to an aesthetic regarded as unappealing or ugly. Doubly so if there is the dimension of dispossession, the felt feeling of displacement at familiar aesthestics of home and place transmogrified into something that appears conspicuously alien. The ‘Yookay’ in its birth pangs is a very tonally inconsistent phenomenon. Often a slap-dash blend of incongruous non-sequitur mishmash culture and aesthetic forms - the roadman in the balaclava, puffer jacket and thobe, the old Tudor building adorned with Urdu signage and draped in Palestine flags, Deliveroo riders congregated below a WWI war memorial playing Punjabi music aloud on speakerphone, large populations of Eritreans or Bolivians or Papuans appearing suddenly on the streets of Aberdeen or Aberystwyth etc. Early stage ‘Yookay’ represents a great, undifferentiated throwing together of the world in one place on top of an old and established British culture - whatever its final form it is still something that is very much in the process of being created and consolidated. You have some emerging staples already, the Roadman, the ‘Rubber Dinghy Rapids’ brand of Islam, MLE etc. but those new forms as a whole aren’t yet fully, properly settled. There is no historical weight to our encounters with ‘it’, we are unsure how we are supposed to respond to something so novel and incongruous by any normative standard which is still in so much flux. You are asked to engage with these new fusion forms as serious, authentic cultural expressions but you can’t help but meet those cultural expressions as jarring non-sequiturs. Their incredibly recent historical contingency is inescapable. Often too the new forms are not especially aesthetically ‘pleasing’ which only compounds the incongruity, how dispiriting people find them. “What the hell is going on here? What kind of weird mishmash is this?” [1/3]

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Bronze Age Pervert
Bronze Age Pervert@bronzeagemantis·
This is meant as a criticism and I agree with it RE nonsense of “end of history” but it doesn’t change the fact that whatever remains of USA living standard (and it can get much much worse) is propped up only by the dollar as reserve currency, which in turn imo only is reserve because of American military and in particular the American-European alliance. So in a sense yes USA preeminence both now and even during Cold War was due to USA leadership of West Europe. That this introduced distortions in American economy is a huge problem but it’s not true you can solve this with drastic or quick measures. More likely you’re going to get a post Soviet style situation, or in any case it would deprive USA and Yurop of the means they have at hand to try remedy situation; you have to leverage what you already have, not pretend you can recreate 1890 or 1950 USA industry dynamism in a few weeks or even two years.
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Alan Cole
Alan Cole@AlanMCole·
I can confirm I've replicated the CEA calculation for the so-called "tariffs charged to the USA" on these charts. It is the Census FT900 trade data, exhibit 4, for year 2024, and the formula is MAX(10%,(imports-exports)/imports) per-country on a customs basis.
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Jean-François Gariépy 🧬
The Dangerous Lie of Adolescence. Wow. I just watched Adolescence and it's a stunning illustration of the lengths at which a society in denial is willing to go to superimpose a perniciously false Marxist narrative unto a sad biological reality. In the above illustration is the actor playing the 13-year-old killer in Adolescence. If you watch the movie without doing the research, what you get is a gentlemanly White English boy, with high IQ and a slightly autistic and narcissistic temper. The mechanism to induce this boy to commit a murder is quite simply explained throughout the series: Watching too much Andrew Tate, the 80/20 theory of the redpill world, too much use of Instagram, internalized lack of self-confidence, and a slight autistic and narcissistic penchant cultivated by a culture that has gone too online. Those are the ingredients that led this high IQ White boy interested in history (he's fascinated by the Industrial Revolution) to kill a girl who maybe nagged him and made him feel inferior. But that entire story is a lie. There are no White boys fan of Andrew Tate who recently killed any woman in the UK. Instead, the two cases we know of that most closely resemble the events in the series are, firstly, the case of Hassan Sentamu, illustrated below. Hassan was 17-year-old when he killed Elianne Andam outside a shopping center. The elements of his murder that have been recuperated in the series include the stabbing style, the slightly autistic personality of Hassan, and the fact that the group of girls that Elianne was part of had nagged him the night before and threw water at him. The murder happened during a meeting for transfer of belongings that his ex had kept. Notice the differences with the series: not White, not high IQ, not on the Internet, not on Instagram, no following of Andrew Tate, no incel culture, no red pill culture. The second story on which the series could have been more loosely inspired are the murders of Southport by Axel Rudakubana. Axel Rudakubana was a violent person who has been dreaming of committing mass violence for years; researching mass violence and mass shootings on the Internet. He was known to be dangerous but was let go by the various services in charge of putting him through "Prevent" and "Special Education" services (are these services ever successful?). He even had previously been calling the Childline to ask "What should I do if I feel the need to kill people?" On July 29th 2024, he found three victims at a danse class for children. He killed girls aged six, seven and nine years old with a knife. Notice again the glaring differences with the series: not White, not high IQ, no following of Andrew Tate, no incel culture, no red pill culture. He was on the Internet, but it is not current blogs or red pill ideology that he was researching, it was mass killings. Bringing us back to the fiction of Adolescence. The lie of Adolescence is not merely the fact that a White boy was used as part of a blood libel to merely change the color of the skin of a bunch of Black killers who have truly inspired the series. They did much worse than use his White skin. They Whitened the whole story. They Europeanized it with the character's love for History. They made him into a high IQ kid (honestly, the performance of the actor is just stunning, this is where it gets even more pernicious. One ends up kinda liking him when he tells the female psychologists not to give him orders). They Whitened his Internet behavior also, placing him somewhere among the alt-right and red-pill spheres. Instead of showing him as a retarded brute (which is probably who you should be most careful around), they made him into a sophisticated hyper-narcissist in self-denial. What probably hurts the most in Adolescence is that the series has been produced at very high quality. The autistic psychologist female expert with her flair for objectivity will be warmly adopted as a hero by the next generation of psychologists for having properly extirped and exposed the mysogyny of the White boy. The production style, with each episode being basically a continuous oner is hyper-realistic. It wrenches your gut, the mix of humanity and inhumanity in the process of a criminal arrest of a juvenile. If the series was about illustrating the reality of juvenile police processing, I would give it 5 stars. But what Adolescence has been designed to hide is the reality of violence in the UK and elsewhere, and that the roots of violence are not to be found in instagram culture or Andrew Tate extremism, but rather in simple realities of biology, genes and race. As such, Adolescence is the foundational fiction for the rising anti-White justice system of the UK, which will pursue Whites for minor crimes in harsher ways than it pursues Black rapists and criminals. Every broken girl ending up in Psychology or Sociology will want to be the expert that finds the mysogyny in a young White Boy in her report. The generation of psychologists that will have grown seeing this series will be quite disappointed by the reality they find: that it is in the biology of certain human groups to commit much more violence than others, and that their expertise in psychology is barely needed as the people who succumb to these violent tendencies can barely put a sentence together. Let alone be fascinated by history.
Jean-François Gariépy 🧬 tweet mediaJean-François Gariépy 🧬 tweet mediaJean-François Gariépy 🧬 tweet mediaJean-François Gariépy 🧬 tweet media
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Mary Harrington
Mary Harrington@moveincircles·
"I'm just trying to understand why, on the night of 2 March 2025, your actions were the antithesis of everything Paddington stands for"
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Samwise
Samwise@Samwise04726011·
@Rainmaker1973 Walking around the shape clockwise you travel the same distance left as you do right (9+12=21), and the same down as up (15). So 2 x (21 + 15) = 72.
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Massimo
Massimo@Rainmaker1973·
What's the perimeter?
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Daily Mail
Daily Mail@DailyMail·
Left-wing theatre managers who invited 200 migrants to a free show will abandon the building and face bankruptcy as refugees still refuse to leave after three months and spark wave of sex-related violence trib.al/UTrJOv1
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ɖʀʊӄքǟ ӄʊռʟɛʏ 🇧🇹🇹🇩
THIRD WORLDISMS - A GUIDE A Masterthread of posts about ‘Third Worldisms’ - Behaviours or Customs typically seen in the Third World that in recent years are becoming increasingly common in the First World because of both migration trends and declining social trust 🧵
ɖʀʊӄքǟ ӄʊռʟɛʏ 🇧🇹🇹🇩 tweet media
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JD Vance
JD Vance@JDVance·
I’ve said before and I’ll say it again: the problem with Rory and people like him is that he has an IQ of 110 and thinks he has an IQ of 130. This false arrogance drives so much elite failure over the last 40 years.
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JD Vance
JD Vance@JDVance·
Just google “ordo amoris.” Aside from that, the idea that there isn’t a hierarchy of obligations violates basic common sense. Does Rory really think his moral duties to his own children are the same as his duties to a stranger who lives thousands of miles away? Does anyone?
Rory Stewart@RoryStewartUK

A bizarre take on John 15:12-13 - less Christian and more pagan tribal. We should start worrying when politicians become theologians, assume to speak for Jesus, and tell us in which order to love…

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Madeline Grant
Madeline Grant@Madz_Grant·
Where do they learn to speak like this?
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Rupert Lowe MP
Rupert Lowe MP@RupertLowe10·
No more thoughts and prayers. The country needs action.
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Tim Chapman
Tim Chapman@IslingtonChap·
And there’s a wider point here. Why didn’t Axel Rudakubana take his custom to the Great British Highstreet? The internet needs taxing.
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S. C.
S. C.@sdotcdot_·
Starmer was happy to baselessly label people who were involved in the riots or who commented on them on social media in a non-state approved manner far-right extremists before any due process. Very selective about what trials he can't prejudice
Lee Harris@LeeHarris

🚨 Keir Starmer's narrative is already falling apart! Journalists are pointing out that there were multiple opportunities to tell the public the truth and it would NOT have made the case fall apart. This is HUGE! Nobody believes his lies. Keir Starmer is in BIG trouble 👀

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