'The Perfume Nationalist' reclaims culture for conservatives — one fragrance at a time

One great thing about the Trump revolution was the galvanizing affect it had on young conservatives.

Even as the mainstream media violently rejected the president, a new generation of brave and talented pro-Trump voices developed a new medium to circumvent the biased media: the podcast.

Everything feminism claims to be true about the oppression of women and girls in society is now true in reverse about men and boys.

The leader in this wave was "Red Scare," hosted by two whip-smart female New Yorkers. "Red Scare" dared to think Trump was funny, that #metoo was a power grab, and that the left was boring, gutless, and intellectually bankrupt.

The need for reinforcements

But there was only one "Red Scare," and they had a lot of ground to cover. Soon similar podcasts sprang up as well. One of these, the Perfume Nationalist, ultimately became just as influential in its own way.

TPN founder Jack Mason — a gay conservative Texan — discussed classic movies, books, films, music, soap operas, and, yes, perfume in a highly original and entertaining way. It became an immediate hit.

A large part of the show’s success came from Mason’s humorous outbursts and spontaneous monologues regarding our current left-dominated “clown world” culture.

Just think of it: smart, lively discussions of all your favorite books and films, from a funny and defiantly anti-woke perspective. Who could resist that?

The Perfume Nationalist: The book

Now, seven years into his podcast's run, Jack Mason has written a memoir about his life and experiences as a key player in the podcast revolution.

Mason’s writing demonstrates his college-professor level of knowledge of the books and films he talks about. But unlike the politically compromised (and dubiously qualified) academics of today, he actually has interesting insights to share.

On shopping malls:

The mall, once viewed as a symbol of empty commercialism by punks and Gen Xers, had become a longed-for symbol of beauty and authenticity now that it was largely gone and replaced by e-commerce.

On the state of conservative young men:

[Their] personalities were divided between a cartoon avatar who could say and do anything without consequence and their real identity, a lonely and alienated young man who was demonized, used, and disposed of by society, and who — if he was lucky — might have a decent-paying job at the libtard factory systemically enforcing the values he has grown to hate.

On the shifting nature of gender equality:

The introductory red pill for most men is the hypocrisy of feminism and its dishonest depiction of gender dynamics in the modern world. Everything feminism claims to be true about the oppression of women and girls in society is now true in reverse about men and boys.

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Andrew Lichtenstein/Corbis/Getty Images (background); L-R: Al Drago/Getty Images; Derek White/Getty Images

Let’s (not) go to the movies

Mason is especially entertaining when ripping into left-wing do-gooders:

Everyone knew not to eat McDonald’s every day. It was a coveted treat for birthday parties and special occasions and road trips. Morgan Spurlock’s SUPER SIZE ME came along in 2004 and, along with BOWLING FOR COLUMBINE, invented the insufferable modern busybody libtard, informed on the evils of “corporations” and “capitalism” and “America” ...

But Mason doesn't use his critical acumen only to eviscerate. He is equally incisive when talking about the art he loves. Like "Gone with the Wind."

I believe [it] to be the greatest novel and greatest film of the twentieth century. Gone with the Wind tells of a civilization that is no more than a dream remembered and depicts the brutal upheavals and forced social changes of the South during the Civil War. Since its publication, it has been tarred and dismissed by liberals and academics who depict it as a simplistic apologia for slavery, pointedly excluding Margaret Mitchell, like Ayn Rand, from all discussions of influential female artists.

Dawn of the podcast

In the more personal parts of the book, Mason discusses his personal struggles during the volatile and often dangerous world of political podcasting circa 2019 to 2024.

He explains why he jokingly used the word “Nationalist” in naming his podcast, a word he knew would draw intense fire from the left:

Why not a title that commented on the climate of 2019 America, where you had the choice of total compliance with liberal authoritarianism and censorship or the witch hunt label “Nazi”? Those times were so dark, so paranoid and oppressive, that anyone who experienced them knows that the path to freedom meant steeling oneself against the stigmatizing labels and -isms ...

He describes being constantly threatened, stalked, and harassed:

Any public figure viewed as provocative or controversial is thought by most people to be deserving of whatever happens to them, especially if they’re successful or admired. People who’ve had it happen to them understand how bad it gets and the loneliness of being stuck with it. Most people quit after their first taste of it.

Fortunately, Jack Mason did not quit. And now he’s written a book worthy of his exceptional podcast. In both mediums, Mason has defined his time and given voice to a youthful common-sense conservativism that continues to gain ground and acceptability.