In Praise of the White Singing Voice:
Getting to “Beyonce” Overload
I went through a phase when it pained me to hear my daughters sing.
For a spell their natural voices had became warped. Before it had been their pure, natural voices in the rooms yonder. Now, affectation, artifice, gimmicks. Voices not really theirs. I suffered and worried maybe a little more than I should have. We are more solid trees than that. It turned out they were just going through a phase themselves.
But at that time I developed an allergic reaction to so-called black “soul” singing. It seemed to have invaded my neighborhood and swamped my kids. I ought to say I loathe it. Just for sport let me declare: I hate the dippy stuff.
My feelings probably don’t rise to such quality — to real ‘hate’ that is. More likely I just dislike it. But I needed to propound a good polemic, since plans are stewing. Some now crave to ‘outlaw’ the expression of certain human thoughts and instincts, and even one of my most favoritest of things — Aversion.
Uniquely unprecedented Samsara Busters, they even fantasize about ‘abolishing’ hate — or its expression — as if you can just pave over human feelings. Hate’s closest relation, anger, is as “perennial as the grass” and as human as thumbs.
So is its expression, whether it be coarse or savvy, fortunate or not, and whether it present as virtue or vice. (Some theologians do call it virtue to hate evil.) I want to point out, too, that human hate — when it actually exists — has a cause, and not always ‘ignorance’ or ‘misunderstanding.’ It is more often a response to hurt, injustice, or threat.
Even if it weren’t a fool’s errand to ‘outlaw hate,’ true hate is so hard to find. What they’ll call ‘hate’ will be the lesser things like disdain, aversion, or statements of natural human discrimination. Things like this very article. Truly, the goal is the liquefaction of the human mind.
If you’ve forgotten what ‘discrimination’ actually means — it is time to look it up. It’s how you decide what to do at a four-way stop, which fruit to eat from a bowl of cherries, and which clothes you’ll wear in the morning. Using her precious discrimination, a young lass decides to marry one man instead of another, and listens to one song and not another.
To discriminate is to distinguish differences; what is better and worse. You use the faculty in every kind of decision. We discriminate at all hours — even in dreams. If we didn’t we’d not be human. Without an active, robust sense of discrimination we would lack the functionality of even caterpillars, let alone the fox. Discrimination is the essential faculty at the heart of human intelligence. That’s no new definition of the word, but the standard one.
Who’d have thought anybody would try to outlaw discrimination? It’s as sensible as ‘outlawing’ thought, crying babies, and the rain.
So I was game to cook up some quasi-hate speech as a service to my country. Freedom to think, to have your feelings, and to express them and teach culture to others — these are too sweet to lose. And I aim to bring out some lessons in active discrimination here. Because human discrimination is a very beautiful thing. Now it needs some space; some air. It’s about time. Somebody has decided that Black music and culture is now superior to White. And this inspires a discriminating, taboo-busting trip.
Beyonce was the last straw in my craw, the alarm bell that roused me, the final insult. Now I am submitting a claim of Oppression by Black Vocals. Later we’ll discuss reparations.
Notice the word “soul” above needed quotes. I declare and cry from the rooftops that black music has no particular claim on Soul, Spirit, or the Transcendent. Because my White Soul whispers it.
Precaution: If you are afflicted with White guilt or White self loathing, this article will make you itch and twitch.
Black Overload in Media
Four nights ago the “soul” singer Beyonce was unaccountably overexposed at the 2005 Academy Awards. She’s a pleasant enough woman. Appealingly feminine, humble. But her voice and singing style are just more of the same; part of a long procession of truly stereotypical “soul” stylists, and a mediocre case at that. So my question is:
What possessed them to give her four (count ’em) separate songs? Such hegemony by a vocalist at an Oscars is unprecedented, some noted. And on what grounds? It’s not as if she is a songwriter. She does “covers” of other people’s songs. And she doesn’t even choose good material. Thanks to her we have to suffer through the resurrection of 70’s soul-trash like “Love To Love Ya, Baby.” (For that alone she should be banned from the Oscars.) Meanwhile there is nothing exceptional about her voice; you can hear specimens like it at high school talent shows. Then the soul style grates. More than anything these days, the sound of that voice grates me. I mean the sound of the black voice! It’s odd, and always the same. Why should I like it?
There was no White singer in sight for this White nation. Meanwhile half of the “best actor” awards went to blacks, and a lecherous black emcee was selected to terrorize the audience and pull the class factor down by about 95 degrees. Somebody upstairs was having fun with White America.
I see that Blacks are only 12% of U.S. population. But watching T.V. one would guess they were at least 60%. Or that a law has been written prohibiting Whites from being shown outside of the company of Blacks. Hollywood scriptwriters have a new Rule Number Two: “All characters who are strong males, bosses, supervisors, gurus, commanders, or surgery room chiefs — or any kind of superior — must always be played by a black.” Oh yeah — Rule 3 is: “The black must always speak rudely or abusively to the white characters.”
It doesn’t have any connection to real life, and is very insulting to White people. Leaving aside black overcrowding in media, let’s talk about the epidemiology of black “soul” music. Seeing Media canonize Ray Charles — of all people — as a cultural icon, lets me know a little straight talk is in order about spiritual ideals in music. I’m going to be criticizing Black music and singing here. (Just so you don’t think I’m entirely one sided, my own people get some criticism further down.) Now let me crow about the musical goodness and brilliance of my People.
Whites Evolve Different Forms of Music
If left alone Whites and Blacks evolve different forms of music. White music has many lineages reaching far back into old Europe. Let’s limit this discussion to White Classical music alone. First, our White ancestors in Europe gave us many amazing instruments.
They developed many forms of strings (violins, violas, cellos, string basses), and brasses (trumpets, trombones, French Horns, Tubas, the Piccolo, the flute), and woodwinds (the oboe, the clarinet), and various Amazing Keyboards (The Piano, the Pinafore, the Harpsichord, and Pipe Organ).
This is not to minimize a whole regiment of lesser instruments like the guitar and the harmonica. But using these they evolved that amazing coordinated group effort we know as The Orchestra, and most especially — the Genius Composers (brilliant white men, all) who supply them with richly imaginative, thematically varied and inspired symphonies and scores. To create a great symphony requires a large number of adults who have been especially trained on an instrument from childhood, generally supported by a culture that had evolved the phenomenon of schools and universities.
Brilliant White Men
Everything you hear on a classical music station — from operas to complex symphonies utilizing a myriad difficult instruments — was evolved by White Europeans, right down to the instruments themselves. It is not my view that Black people do not have any unique and positive racial traits. This is not my topic here. My point here is that they are not like Whites. You can observe a lot about the essence of a people by analyzing what they do, and what they create, when left entirely to themselves. Especially over eons.
Take the cello alone. African peoples never produced any instrument to compare with it, much less a harpsichord — or even a dry auditorium where a symphony and audience might pleasantly sit. Standing back of one French Horn are centuries of stable White culture, centuries of White technological creativity, centuries of White industry and economic life. To even conceive of making a piano required first an advanced civilization with much technical knowledge, numerous manufacturing skills and amazing capital equipment.
Given these amazing instruments it still remained for players to master them with years of training under accomplished teachers, in dignified and formal schools, walking upstairs to furnished rooms with windows, showing up on time day after day in that Nordic work ethic, sitting inside of beautiful buildings with heat — and the rest — all to master an arcane thread in a work by a Mozart, or some other subtle genius.
If there is a symphony today in Africa, it is because Whites brought it there, and it would have to be staffed by White players. Leave aside the instruments and turn to playership. Blacks have long been exposed to violins and cellos. But how many virtuoso instrumentalists, in the classical traditions, have emerged from among Blacks? It can be argued that even to play these instruments according to White standards — or even to follow orchestral sheet music — is a racial capacity. (See Hilary Hahn, below.)
Finally we have to mention White music itself. Listen to an opera by Wagner, and wonder: Where do these White Men get this stuff? Watch a classical art channel all night long; you’ll see nothing having any corollary — material or aesthetic — in historical Africa.
Are there any black classical composers in our lofty classical genre? Or even in the ballpark? If so, I have not heard of them. Are there even many great black songwriters in pop? O.K. Stevie Wonder is a great pop composer. But that’s about it. Certainly the media-vaunted “Prince” does not rate, nor the absurd Rick James. Their stuff is insipid and annoying. The self-named “King of Pop” — Michael Jackson — never wrote an exceptional tune in his life, and he gets hauled into court for copyright infringement.
Stand any of them next to a Paul McCartney or an Andrew Lloyd Webber. Has “the king of pop” ever written a melodically brilliant “Eleanor Rigby” or a “Jesus Christ Superstar”?
After listening to some good symphonies ponder what blacks create for music today when left to themselves. Ask yourself if you don’t like White music better than the atonal bellowing, criminal lyrics, and ham-handed digital assault known as “rap” and “hip hop”? Compare it to a soaring run by Andrew Lloyd Weber and ask yourself: Which is the real “soul music”?
NOTE: Some great composers and songwriters have been Jews, the chief racial adversary of Whites.
One fine day I found myself moved by the orchestra on a classical music channel, and then a piece from the opera Madame Butterfly, and I realized: An orchestra is a very White thing, and so is an opera, and so is a cello. And this is the music of White People! It’s the music of your White ancestors, and it carries their intelligence, their dreams, and soul.
I began to grow in appreciation of my own race, and realized I had not been appreciating it at all. I saw that I had been led; I had been brainwashed from youth. But the sublime, unendingly creative music that I heard there was enough to convince me to feel proud of the White Race, and to realize we were spiritually unique.
And then I found that it is considered stunning for a White to have any racial pride. If you are White you are not supposed to think that Whites have anything special about them. Or, you are supposed to assume that whatever we have, other races must have them too. Or more likely, you are supposed to be ashamed of your race — as many young White people now are because of the media message. What could my four White daughters think when the only singer featured at the Academy Awards is a black “soul” singer? It must mean they should try to be sing like her, even look like her…
Whatever American Black music may have been originally — and I don’t say that I know — what we’ve come to know are its admixtures with White forms. A cross-fertilization has created a few interesting things, like New Orleans jazz. But left to themselves the two races create their own music, and they don’t have the same vocal approaches. When you see black actors in Porgy and Bess singing with an operatic tone, know that that vocal style was trained into them by White teachers.
Black and White Voices Sound Different
I can usually tell a Black from a White over the phone, not by accent but voice tone. Also I can tell a white singer from a black sight-unseen, again from voice tone. So it seems that white voices are different from black voices acoustically. Whether this is from biology or environment, I do not know.
But you can’t fool the ear. The sound of the White voice is instinctively more attractive to me. Why shouldn’t it be? The White voice has resonance in my memory and genes, and maybe lifetimes of White mothers singing me lullabies, and fathers giving me advice, and association with other White voices. And the White vocal style somehow resonates with values that are a part of my White DNA.
I note that a White can learn to sound like a Black, as in the case of Britney Spears. Also a Black can learn to sound like a White, as in the case of Nat King Cole. If left to themselves, however, the two races evolve different voices.
Listen to Roy Orbison sing and then ask yourself: Has any other racial group generated that kind of voice or vocal style? The pure presentation of the note, the unwavering sustain, and the open-throated tone shimmering with heart and subtle longing? The answer is no. Roy Orbison is considered great in White culture precisely because he so beautifully exemplified core White singing values.
There is no black ‘Roy Orbison,’ no oriental ‘Roy Orbison,’ no East Indian or Asian ‘Roy Orbison,’ and no Native American ‘Roy Orbison.’
If a non-White ever shows up singing like Roy Orbison (a thing that has never happened) it’ll be because they were heavily exposed to White singing and strove to master that sound. But it is not a natural emanation of other races.
This is not to say that other racial styles don’t have their charm. I enjoy the East Indian singing style with beguiling and subtle melodic inflections. Asian styles of singing are completely unique to that race, as were the Black singing styles out of Africa. Of the races, the Asians have come the closest to evolving singing values similar to those of Whites, in terms of sweetness of tone and pure sustain. But the Asian lexicon contains sounds and musical values that are unknown to the White. I posit that differences in music/singing are caused by differences in psycho-spiritual orientation inherent in the races.
Spiritual Lexicon of the Voice
The various possible styles of the human voice actually represent a spiritual and moral lexicon:
- A strained and broken up voice makes a statement of recklessness, excess, and pathos.
- A shouting, atonal style conveys brutishness and a rejection of the aesthetic.
- The singer who carries an actual melody — as compared to grunts, shouts, and wails — affirms the spiritual aesthetic that is music itself.
- A cultivated, disciplined voice speaks of self-respect, self-discipline, work, and intelligence.
- A pure tone implies chastity and honesty, innocence and restraint.
- A forced voice that strains bespeaks impetuosity and impatience, bullheaded youth and the eternal green yokel.
- A distorted growl conjures a drunken brawl; dissolution, unrestrained anger.
- A light and breathy sound telegraphs femininity, innocence or childlike qualities.
- Deep, firm voices in men bespeak manliness, fatherhood, strength, and authority.
- A vocal style that constantly shifts about — to the point that melody is obscured — stands for waffling, laziness, freneticism, and hype. A “shifty” vocal style represents a “shifty” approach to life. I have to note that is a trait of so-called black “soul” singing. (I distinguish this from the vocal music of India which, though containing subtle dips and trills, holds to a well defined melody.)
- The ability to evenly hold to one place in a melody, on the other hand, speaks of the ideals of self-control, fidelity, focus, and strength.
A voice can be chaste or dissolute, economical or wasteful, spiritually inspiring or carnal and debasing to the mind. Whenever anyone sings they are representing some kind of human value through singing style. A beautiful and original melody enlivened by a chaste and disciplined voice lifts the human spirit. Add meaningful lyrics, and it can connect us to the Transcendental within. As far as I’m concerned, this is the real “soul music.”
The White Singing Values
To understand the values of the White singing technique, you would only need to sample some voice lessons from the many voice coaches (almost all of them White) who have been teaching in Europe and the U.S. for centuries. Following are four singing values they promote.
- White singing strives for an open throated tone. To achieve this a singer learns to support his voice consciously from the abdomen, providing foundational strength to the final voice.
- It is a high value not to strain the voice, but to let it flow out in a pure, undistorted way.
- High value is placed on the ability to hold a note in one place, as the melody may demand, without having to resort to vibrato, force, or the dippy little melodic gimmicks so common in black singing.
- The White singing ethic strives for the development of beautiful, full tone. A beautiful tone is rounded, rich, and undistorted, carrying more frequencies of the voice. It lacks strain and is based on the training of not just the throat, but that entire underlayment of diaphragm, abdomen, and lungs. It is a holistic effect, and carries ‘soul’ — the real thing.
Tone can also be improved through training. Tone is of first value, then control, execution, and lastly style. Black singers tend to be long on style and short on execution and tone. I am going to add one of my own values here that may be obscured even in the White tradition. It is a divine gift when a singer’s very voice touches the soul. And this is effected most by the singer’s own inner virtue. You might say the singer’s “good karma.” A singer with inner spiritual beauty or wisdom transmits it through his voice. A singer’s own moral condition is one of his most important qualifications.
A good singer makes it sound easy; he soothes and uplifts. When he takes you to dangerous vocal terrain he carries you through safely without losing control or finesse. A great singer evokes sublime feeling more by containing a vital voice with chaste control, than by unrestrained emotionalism and excess. Just as poetry gains power when it whispers to you between the lines; a singer touches you deeper through hidden reserve than by dumping everything on the table.
This takes discipline and cultivation and powers in reserve. And this is a statement of the values of our ancestors. To sing this way requires the development of a physiological understructure and a skillful use of the lungs and entire body, so that the voice finally “floats” out in a relaxed way, even in higher ranges.
When a singer builds that understructure he is able to go soaring and take us along. For some it’s a born gift. Others cultivate it through training. But that style of singing — developed over eons by our White European ancestors — implicitly conveys the values of those ancestors. This manner of singing embodies the spiritual values of discipline, inner structure, and strength. At its best it speaks of wholeness, purity, and fidelity.
Limiting this discussion to the voice, I won’t even attempt to discuss broader musical values of the Whites, such as the high value placed of melody itself (something increasingly missing from Black offerings, which appear to be in a state of degeneration). I never thought I’d find myself publicly criticizing Black singing. But the fetish shown by our media handlers in pushing Black ‘artists’ upon me — and my daughters — had be backed against the wall.
An Analysis of Black Singing
Here I’ll also not mention “rap” and “hip hop,” which is barely music and generally features shouting as opposed to singing. Here I’ll comment on the cases where Blacks get involved in singing.
In black singing lazy trills and gimmicky gasps often stand in for vocal discipline. Affected emotional histrionics substitute for genuine spiritual impact. Tonality remains undeveloped. To me, the black voice in its natural state reminds me of the sound of a bleating calf.
This vocal tone rules with the black singers today, tinny and uncultivated. There have been resonant black singers — Nat King Cole has been mentioned. But guess who his influences were? Who was he aspiring to sound like? White men. He patterned himself after the White crooners of his time. Radio listeners thought he was White. Was it not grand that Nat King Cole was able to receive that influence from White crooners and give us a sonorous, melodic voice? Lou Rawls, another black singer, almost came close. But both voices owed much to cigarettes. (It’s an old trick for giving yourself a husky voice not really yours. Both died from lung cancer.) As for Rawls, his tone was a little menacing. Did either of these even approach the saintly, spine-chilling timbre of an Andy Williams? Or the edifying sonic clarity of a Wayne Newton? In my ‘White Soul,’ no.
Nowadays, Black singers don’t sound the least bit like Nat King Cole or other contemporary Whites. Nat tried to sound like the White singers. One can turn on a classical music channel and see black operatic divas, too. Again, they have inculcated a musical discipline created by Whites. Today Blacks no longer aspire to break in on a White standard. They are avidly sold to the wealthy White audience just being themselves. So they are evolving their own music increasingly cut off from White musical influence. Musical influences had become a one-way street. Whites (like Britney Spears et al.) take their influence from the Blacks. Blacks seem to take little influence now from whites.
But is this a good thing? Does today’s Black music enrich White music, or degrade it? I believe that the White musical tradition is the richer, loftier tradition and that Black influence now degrades that. I assert here that White music and vocals are beautiful, lofty, and precious. As for me if I had to choose, I’d rather hear White singing.
Today our ears are swimming in a genuinely black vocal style that is a cliché at best, invasive at worst. The newly sainted Ray Charles (now inexplicably hyped as a “cultural revolutionary”) is a fine example of the strained sound achieved by any fool attempting to sing. To hear this tone at its prime, listen to any Rastafarian or “reggae” singer out of Jamaica. They all sound the same — like bleating calves. That’s how it is when you sing without White vocal discipline, foundational technique, or even effort.
Today’s “soul” singers indulge themselves endlessly with fast 16th notes. These are exhibitionistic departures from the melody that covers up a basic lack of discipline and vocal prowess. Putting all those wriggles into your line is the lazy and juvenile.
It’s like a boy hopping every corner with his skateboard, or popping every bubble on some plastic packing. It’s easily learned. I could do that stuff as an amateur singer at 16. These undulations are basically a parody of emotional feeling originating in the black southern churches, an affectation. But they tend to weaken the melody, and are no substitute for genuine emotional transmission.
The undulations serve to obscure the fact that the singer has not mastered a more difficult and central aspect of singing — holding a note and letting it ring out with beauty. White singing places a high value on the ability to hold a note in a pure and attractive way, without strain. There is also a value on fidelity to a melody. What does it mean, Cosmically, to hold a note and let it ring in place? What does it imply to show fidelity to composition? What can we tell about a People that evolves these singing values? Why did our European ancestors develop this singing ideal rather that the shifty convolutions of “soul” singing.
“Soul” singers commonly blare out high notes like a brass horn. This is supposed to represent vocal power and emotion. But a voice is spiritually powerful when we can sense its inward strength, set within restraint and inner girding; when you sense the singer isn’t using all he’s got, though giving you a lot. The principle is seen with power amplifiers. A stereo amp with more wattage than it needs — “head room” so to speak — provides less distortion, greater musical purity, and more dynamic range even at a low volume. Soul singers do not cultivate the abdominal undergirding that brings out the beauty of the human voice.
A fine singer can emit a sustained note, soft or firm, without strain or wavering, then end it smoothly without that cheesy gasp so annoying in modern black singing. That’s real control. If you asked Ray Charles et al. to just hold a note sweet and clean — without blaring like a horn — they’d be stumped.
The young singers of today who imitate these people are losing out on the potential of their voices.
Pathological White Singing
Now I’ll make some stout criticisms of my own race. If Whites listen to this criticism, it will only help them greatly. Over the past several decades there have been many White singers who do NOT manifest the above vocal values. However, it can be argued that the decline of these ideals has been through foreign influence, and fomented by a breakdown and derangement of White culture.
A voice that strains and breaks up in places has some theatrical and emotional value. But carried to excess it is simply ugly and deadens the soul. It has led to a form of singing that became a white forte, that of the heavy-metal screamer. Let’s analyze that vocal style.
Heavy metal scream-singing had its genesis in the untrained effort to sing at higher ranges, without consideration for the spiritual possibilities of tone, or even the longevity of the vocal chords. Higher ranges have always been a part of white singing, and we used to call them tenors.
In the 60’s certain White groups — most notably the Beatles – deliberately strained the voice into high ranges, absent any technique, to achieve a raw emotional provocativeness.
This approach was actually pioneered by Black singers of the time, most notably Little Richard. In time the singer’s voice (while it lasts) takes on a raspy quality that adds more emotionalism, with a suggestion of anger or aggression.
This effect was what they were after. An example of this sort of voice was the singer for “Nazareth,” who had one hit called “Love Hurts.” Heavy metal singing represents these trends at their ultimate conclusion, fostered further by the loud heavy metal guitar. The screaming, distorted vocal style was an inevitable sonic corollary to the obscene volume of the metal guitar. Any form of music that actually damages the human body (in this case the hearing) has to be classified as pathological, negative.
Heavy metal screamers represent for us Mars-like masculinity and bombast. This bellowing, throat-splitting approach conveys the very vibrations of anger, excess, aggression, and ignorance — even violence. Lead singers for bands named AC/DC, Iron Maiden, Quiet Riot, and many others exhibited the style. These raging vocals became favored by young American White males in the 1980s onward. It speaks of their emotional condition.
Whites became the specialists with this sort of tamasic music. (That’s a Hindu word for ignorant, dense, destructive.) Whites tend to be really good, or really bad. This is one of those cases.
And the blame can’t be laid at the feet of Blacks. It is part of a spiritual darkness that has beset Whites from many sources, and some of the sources are their own — especially White technological obsession, perhaps the greatest fault of the White race.
The White Race is the master of technology, just as they’ve been the masters of a few other things (like beautiful architecture). It comes from the Nordic ancestral need to be highly organized and technologically competent to survive the harsh northern climates. This strength is also one of our great faults as a race. Whites never meet a technology they don’t like, and fail to recognize the extent to which technology damages culture and produces alienation; or the basic fact that technology never solves the problem it is meant to solve: The problem of duality and suffering.
With technology the duality always shifts and takes more complex forms, and meanwhile society becomes damaged. We can see this clearly in the development of loud rock music. Young people go to “concerts” and actually come away hearing damaged and less able to enjoy any music. The music itself — now amplified by White technology — became the cause of profound loss and damage to the very ability to experience art.
It is because technology is the forte of the White Race that they have specialized in producing this ugliest form of “music” and vocalizing, that of heavy metal. Emerson, Lake, and Palmer — cited above for beautiful White melodic sense and good singing, was periodically blighted by egregious ear-shattering techno noise. I lost some of my hearing at an Emerson, Lake, and Palmer concert.
So Whites became the masters of heavy-metal screaming because they are the masters of technology and the intimates of the social damage it brings. All in all it comes from: (1) White rage and emotional pain — especially that of young men emotionally abandoned by their families and their fathers, and (2) The unfortunate White obsession with machines and technology, and (3) living in an increasingly isolated and technology-driven world that Whites have themselves produced. It is a pathological form of singing — one that actually destroys the voice and can’t be maintained more than a few years — and not a part of White cultural roots.
But White culture had help from other quarters in developing this style. Angry young men like to hear angry music. Music publishers music — many Jewish — exploited the feelings of generations of young Whites and gave them music that both reflected and stirred the bad feelings. This fascination for such extreme singing and sound tells us that young Whites have a lot to be angry about. Meanwhile, it got a big boost from Blacks directly.
John Lennon, an early early and very influential White “screamer,” stated that he was copying black entertainer Little Richard, a flamboyant and original rock’n’roll screamer of the 50’s. Meanwhile, the Black guitarist Jimi Hendrix is regularly cited as the foremost pioneer of ear-shattering metal guitar music, with stacks of Marshall amps that could reduce your hearing in a nanosecond.
To get in touch with our ancestral voices, listen to singers like Enya, whose Celtic influences and chaste style are primordially White. Listen to the great crooners like Frank Sinatra, Perry Como, or Andy Williams. Or take note of a Donovan record, such as his rare gem “Sutras.” From these you won’t hear strings of furtive triplets. You won’t hear those annoying Michael Jackson Gasps. (That obnoxious aspirate device used to close a note in “soul” style, and giving a subliminal suggestion of the panting sounds of sex.) Just listen and enjoy some beautiful open throated singing, White singing.
Our nation used to be filled with the sound of such voices. Why do we now swim in jive and rap? How did that happen? Blacks only make up 12 percent of the U.S. population, but it’s clear that 100 percent of us are supposed to like this crap. Our children hear it every which way they turn. It pains me to see so many young white female singers sinking into this slovenly style. Did you know that Britney Spears sang with a beautiful, ringing White voice when she was young? But then she, like my daughters, was over-influenced by black singing till today her voice is a frequency-fragment of what it was.
How did it happen? Simple: Media Overexposure. Somebody up there has decided this should be the music that our children grow up knowing best. The fact that it is so heterodox to the spiritual heritage of those white children may be a reason it is foisted upon them.
All of White America had to settle for the overwhelmed Beyonce at the Academy Awards. There were no great singers at the Oscars this year, and whites were conspicuously absent. Yet those are the singers who would speak to the soul of White America.
The Race War Heats Up
This is all a puzzle unless your understand that there is a Race War going on. The war has been going on for centuries. The two big players are Whites and the Jews, as always. It’s a quiet war now. Only Jews remain engaged. And they are winning.
A basic strategy is to convince Whites — especially children — that there is nothing special about their race, their heritage, or White cultural values developed over millennia. This is done partly by omission — simply ignoring White things. Going further, White history and White things are actually portrayed negatively. So White children become not only unaware of their unique racial heritage, but despisers of it. It may never occur to them that there are unique positive qualities in the music Whites have developed, or in White people. As the final blow, you take blacks and feature them instead of White culture — in a White nation — and let them progressively supplant it. White racial self-awareness and self respect dies, White culture dies, and is profoundly downgraded (from a White point of view) by gradual replacement by the Black consciousness.
White children come to view Blacks as actually better, desirable. After all, they are the famous ones. I believe now that the promotion of Black music and culture over White is done by Jews, who dominate and control most of our media now, as a way to humiliate and marginalize Whites, and to diminish their positive racial self-awareness. It’s a Stealth Race War, a war of the mind, and Jews have been orchestrating this covert war for too long now.
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