Across the Western world, monuments which display the prowess and might of the (White) nation are widely regarded passe relics of a patently benighted, pre-multicultural age, rife with racist bigotry and colonial-minded arrogance. Thus locations like Trafalgar Square in London, the Arc de Triomph in Paris, and the Voortrekker Monument in Pretoria are often viewed warily by antifa-types as unfortunate reminders that white people haven't always felt compelled to apologize for their very existences, and may yet refuse to be cowed into supine quiescence.
This sentiment, of course, doesn't cut both ways. Non-Whites today gravitate to fascist imagery with unabashed abandon. And who can blame them? Fascist art is rousing. It may be vulgar, but like many vulgar spectacles, it does speak to the soul.
The most prominent recent example of , as Richard Spencer discusses in his article "MLK Fascism," can be found in Washington D.C., where the Great One (and we all know who He is, don't we?) stands with his arms crossed sternly and regards all us honkeys with righteous contempt. But for my money, St. Martin the Dour has got little on the African Renaissance Monument, the 164-foot Colossus that now dominates the skyline of Dakar, Senegal (see above).
Yes, it's tacky and tasteless, but be honest... don't you kinda dig it just the same? Look at the studly, cut man holding his child up on one arm, while the other grasps the leggy woman who leans against his back with trustful submissivenss... It's all got the campy feel of a Frank Frazetta sci-fi book cover.
Yet it seems that not all Sengalese think that the monumentally majestic, sexy eyesore was money well spent, as this story from late 2009 attests... http://news.bbc.co.uk/2/hi/africa/8353624.stm