The magazine was described as being hostile to African-Americans, Jews, immigrants, and the
LGBT community. The publication regularly denied the Holocaust. It was known for being, relative to other white supremacist publications, "highbrow" in an aware way. It also included media reviews of theater and artwork with a racist bent. It was printed in professional magazine format. In content, tone, and style it was similar to
American Renaissance magazine, established in 1990 by
Jared Taylor.
Thomas M. Konda noted that the magazine "marked the beginning of intellectual white supremacism". Mitch Berbrier, in an article titled "Impression Management for the Thinking Racist", described the magazine as an attempt "to present an intellectualized rhetoric of racism and
white supremacy". He wrote that "If the reader is accustomed to white supremacist periodicals such as
White Patriot,
WAR,
White Power, or even the slightly more upscale
NAAWP News, she might be surprised by the relative paucity of demeaning racial slurs, the emphasis on correct spelling, proper grammar, and sophisticated vocabulary, and by the level of relative abstraction at which several of the contributors write."
Leonard Zeskind described it as "high-toned". Arnold Birenbaum said the magazine was "heavy on ridicule, the magazine had a kind of musty nineteenth century right-wing French quality to it, from the time of the Dreyfus Affair." Its letters to the editor section was named by Robertson "The Safety Valve", as a way for the "dispossessed" to express their rage. It was notable for the vitriol of its contents; writers here were addressed by the first three numbers of their zip codes, rather than their names, in order to protect their privacy. Readers would write in their complaints about non-white peoples. Another section was a comic that stereotyped black and Jewish people.
Robert Jay Mathews, the leader of
The Order, was a reader, as was
David Duke. == References ==