Wrap the Bonnie Flag ‘Round Me, Boys

Sam Francis wrote in 2003 about the attack on Southern symbols, especially the flag, as part of the “abolition of America”. He joined with a number of other American defenders of White culture and people in identifying the attack on the South as part of an overarching attack on all symbols of White America. The implications of getting rid of the Confederate flag at Ole Miss’, he writes, are:

“that when you admit racial and cultural aliens into institutions created by and for people of a different race and culture… the newcomers don’t feel comfortable… and if they gain power, which eventually they will, they will do all they can to abolish and eradicate those symbols that make them feel like the outsiders they are. And Implication Two is that it’s not just fairly trivial symbols like Col. Reb, the flags at the football game, the name of the team, and the songs the spectators can’t sing. It’s everything—everything whites (not just Southerners) ever created and built, from their form of government, to their religion, to their art and entertainment, to what they teach in universities.”

It highlights a difference we already know to exist between the Southern Nationalist and White Nationalist mindsets—what the South, and the symbols of the South, represent.

White nationalism has by and large been a friend of Southern identity throughout its existence. Many of our readers think very highly of Sam Francis; many of us were introduced to our politics by Pat Buchanan. We have been readers of AmRen and VDare and regular listeners of The Daily Shoah and The Political Cesspool. As a result, we have ourselves absorbed and internalized many White Nationalist interpretations and notions, some of which are consistent with our ancestors’ Great Cause, but many of which are not.

This is not an attack on WN – they have been and remain friends and allies – but we, as Dixians and Southern nationalists, need to be able to differentiate between the lenses through which we view certain events and symbols.

The attack on the flag, which was renewed in the 1990s and has recently reached a fever pitch in the wake of the conveniently timed psychotic break of Dylan Roof, is not an attack on White institutions. It is an attack on the South, and on us as Southerners – that our enemies speak the language of our “problematic” quality of “whiteness” should not mislead us: they are threatened specifically by our nationality, not merely by our race.

The reason for this has a great deal to do with what the flag actually represents. Brion McClanahan laments in his review of Whiskey Myers that

“The late 1970s represented the heyday of popular Southern music. Southern rock and “outlaw country” dominated the airwaves. It was chic to say “ya’ll,” [sic] even in Boston, and with the election of Jimmy Carter, it really seemed the “South was gonna’ do it again.” It wouldn’t last. During an interview at Capricorn Studios in Macon, GA one afternoon, Charlie Daniels spit into his cup and said it wouldn’t mean anything in a few years. He was right. In less than a decade, the South had once again become the punching bag for everything that ailed the United States, the backwards other in American politics. Her people were taken for granted by the political class. They could be counted on to vote, but promises were easily broken. By the 1990s, the onslaught against her symbols began in earnest.”

Southern Rock bands, which made the South popular, created precisely the cuckfederate type that plaintively cries for permission to fly our national flag below or alongside the Imperial Banner, to express their meek subjugation to the American brand by transforming their national identity into mere freedom of expression. People are fond of Lynyrd Skynyrd for anthems like “Sweet Home Alabama” and “Free Bird”, and even “Saturday Night Special” without the slightest acknowledgement of the naked political and social message each of these songs contains – all anti-White, anti-Traditional, and, essentially, unSouthern. The first – explicitly – boos Governor Wallace for standing up for our Anglo-Saxon culture and institutions in Alabama; people ignore that because of the “not all Southerners” quality of the attack on Neil Young. The second, like so many of Skynyrd’s songs, emulates the culture of negro blues music which celebrates the use and abandonment of women rather than the establishment of families and the guarantee of children. The last is the most blatant – an attack on firearms and gun ownership, the most basic right of free-born Englishmen on the American continent before and after the Revolution.

Image result for lynyrd skynyrd confederate flag
Commodified “Southern” Culture

But this is Southern culture commodified for mass consumption – “we’re not all backwoods racists like our ancestors! Please let us fly our flag next to yours!” When the Flag was waved by rock-a-rollers and degenerates, the Yankee celebrated our kitsch; as McClanahan says, “It was chic to say “ya’ll,” [sic] even in Boston.” But Southrons misapprehended what was happening. To our parents’ generation, it looked like maybe America had finally come to accept us for who we were. Maybe all this desegregation and bussing was tolerable, after all, since our culture wasn’t going to be totally destroyed. Maybe we could actually be proud of who we are and were and that would be okay!


So the Flag ceased to be the emblem of Southern chic and Dixie kitsch and once again became a symbol of identity. No sooner did this occur, no sooner did the Yankees and the (((Fourth Estate))) realize that their commodification of our culture had backfired, than the flag was the target of attacks it had not experienced since the 1870s. Unknowing Southerners, thinking there had been a misunderstanding, proposed “Heritage, not Hate” – consistent with the message Southern Rock had sent in the 1970s.

We know how far that has carried us.

No, the flag is not under attack for being an emblem of American whiteness. Rather, it is targeted because it has awakened, on a very basic and even somewhat unconscious level, the awareness that we are a separate people, a true nation, abiding according “the Laws of Nature and of Nature’s God,” and who, by to the logic of our ancestors, “of Right ought to be Free and Independent”.

Flying the flag is, therefore, not merely a “celebration of heritage” – it is an act of rebellion, as it has always been, against the occupation government that has directed our public lives since 1865. The State of Georgia openly acknowledged this when, in 1956, they added the Battle Flag of the Army of Northern Virginia to the state flag. The change, a representative said, was meant to “serve notice that we intend to uphold what we stood for, will stand for, and will fight for.” They rejected protests from groups (like the UDC) who supported recent federal legislation regarding the Pledge of Allegiance and who felt the flag did not conform to the spirit of the New South’s dedication to “American patriotism”. The flag experienced brief respite only because people ceased to see it as an act of rebellion against America. As soon as it returned to its original meaning, the attack was renewed with even greater vigor, because our identity challenges the legitimacy of American hegemony over us – and we should be proud of that identity for precisely that reason.



  1. These kinds of things are very eerie in life; and, to that end, I can think of no better way to define how I feel about Mr. Francis’s prediction, than this brief scene with Sam Elliot in ‘Gettysburg’…