1,973 words
Little Richard and some of his biggest fans
After reading this Spectator article about how many current pop stars are “quietly right wing,” I started to think about how what we call rock n’ roll relates to White Nationalism. And I have concluded that it really doesn’t. That doesn’t mean that White Nationalists should never enjoy rock n’ roll. It does mean, however, that it will be harder to achieve and maintain the goals of White Nationalism with rock n’ roll in the world than without it.
So what exactly is rock n’ roll? First and foremost, it is a subset of pop music. All rock n’ roll is pop; not all pop is rock n’ roll. Pop music is music designed and marketed for mass audiences that is not purely classical, jazz, religious, or traditional. Of course, reality often stretches and blurs these lines, but, for our purposes, this general rule holds up. Rock n’ roll (along with its cousin R&B) started off in the 1950s more or less as up-tempo, beat-heavy, boogie music. It drew upon elements of several forms of traditional music (such as country and western) or religious music (Negro spirituals, for example) but what held it all together more than anything else was a strong affinity for the blues, which we all know as a distinctive form of black traditional music.
When it started out, rock n’ roll was effectively white people mass-marketing black music for white audiences. As Mick Jagger says, “It’s only rock n’ roll. But I like it.” Lots of people liked it, mostly because it released their inner Negro. This is one reason why rock n’ roll never really took hold among blacks themselves. In most cases, their inner Negro was no different than their outer Negro which had been released the moment they emerged from the womb. But for whites, especially young whites not steeped in classical or traditional forms of white music, it was intoxicating. It represented freedom, rebellion, and offered tantalizing glimpses of sexuality, which, at that point in history, was still fairly taboo among whites. It should come as no surprise that the original definition of “rock n’ roll,” as a verb, was, quite plainly, “to fuck.” For a music as licentious as rock n’ roll, what better word to describe it is there?
Of course, things evolved. By the 1970s, we had “rock music,” which included heavy metal, punk, prog, and AOR top-40 music which bore less and less resemblance to the blues. White people are not black people, and like the beatnik obsession with jazz, the large-scale white infatuation with blues-based music proved faddish at best. Rock n’ roll may have shown white baby boomers that anything was possible in pop music, but after a decade or two, whites were itching to do their own thing. As a result, the quality of the music in many instances soared. By 1980 or so, rock n’ roll became just one of many sub-genres of rock which fell under the broadening umbrella of pop music.
From a White Nationalist standpoint, these distinctions should be made because not all forms of pop music are antithetical to White Nationalism. Of course, rap and hip hop mostly are due to the crass rhythms and offensive or truculent lyrical content. Because White Nationalists abhor black-white miscegenation and frown upon racial integration in general, any sexed-up music that entices young whites to behave like stereotypical blacks also falls into this category. This includes most forms of rock n’ roll, R&B, funk, and disco. This, of course, does not apply to non-white music in general. For my money, White Nationalists should be politically indifferent to Chinese opera or Bollywood film scores. This doesn’t necessarily rule out all forms of black music either, just the sexy kinds, the kinds that can tempt white people into relaxing their sexual discipline.
So how is rock n’ roll sexy? Allan Bloom had a lot to say about it in his famous The Closing of the American Mind from 1987. He called rock n’ roll “barbaric” and wrote that “has the beat of sexual intercourse.” Basically, rock n’ roll stirs up a sexual desires which threaten to control us and turn us into heathens, more or less. One cannot live a noble life, controlling one’s passions and appreciating intellectual pleasures, while listening exclusively to the Rolling Stones, Michael Jackson, and their ilk, according to Bloom. Modern equivalents could include Bruno Mars, Robin Thicke, and Maroon 5.
Theodore Gracyk, in an attempt to debunk Bloom in his 1996 ode to rock music Rhythm and Noise,writes:
When Bloom warns against the beat of sexual intercourse, he probably means this democratized syncopation of meter, and neither the pulse nor the meter nor any particular rhythm. In other words, our perception of syncopation is the result of grafting African democratization onto Western expectations about the correct placement of strong and weak accents. . . . Seen from a musicological perspective, the rock beat preserves an African attitude toward basic accents, rejecting the standard Western assumption that the first beat of the measure is the strongest.
He’s talking about the 4/4 time backbeat with emphases on the second and fourth beat. This is the syncopated <boom THUMP boom-boom THUMP> rhythm that’s so common in rock, not just rock n’ roll. Gracyk explains that classical composers tended to “subordinate rhythm by incorporating it into harmony and melody” whereas rock musicians, if you’ll forgive the expression, let it all hang out.
Here’s where any discussion of rock n’ roll gets dicey, and it is where mainstream scholars such as Bloom and Gracyk fear to tread. If rock n’ roll is simultaneously sexual and black, what does that say about black people? Does this mean that blacks as a group have a genetic preoccupation with sex that other races tend to lack? A White Nationalist will say yes, and not due to any animus against blacks but because an affirmative answer is most consistent with scientific, anecdotal, forensic, and historical data. We can close our eyes, certainly, but we cannot close our ears. Rock n’ roll music, especially in its more primitive forms, apart from its lyrics, arrangement, and ornamentation, tends to be sexual. Occam’s Razor tells us that that’s because it was invented by a highly sexual people. Sure, whites have adopted it and given it a rougher, more adrenaline-tinged edge in many cases. As a result, rock n’ roll has lost a good deal of its prurience. But whenever you hear that backbeat (a particularly hypnotizing example can be found in “All Spring All Summer” by the Silos) you will know that the music is not very many steps removed from the jungle. And in the jungle anything goes.
That’s basically what it is all about: sex; that and losing the discipline required to rein in sexual passions. Anything that causes people to lose this discipline should be discouraged because sexual discipline is one of the main things that hold families and indeed nations together. Without sexual discipline, marriages fall apart, children are born out of wedlock, sexually transmitted diseases are proliferated, and the ties that bind us together as a people weaken. So, in hindsight, we can see there were reasons why they wouldn’t broadcast Elvis Presley’s gyrating hips on the Ed Sullivan Show. And, with human nature being what it is, these were good reasons.
White Nationalists, by definition, wish to build and maintain white nations. Like other nationalists, they believe that a nation is strongest when composed in large part of a single race or ethnicity. Rock n’ roll, as it currently exists as a sub-genre of rock, threatens this on three accounts. First, there is the sexual temptation discussed earlier, which can endanger any nation, racial or not. Second, it engenders negrophilia. Blacks, as we all know, are the least intelligent and most violent and criminal-minded people in the world. In large numbers, they are poison to any well-ordered, civilized society, despite the tiny minority of them which is truly capable outside of music, sports, or show biz. Black people for the most part should be shunned, not loved. Further, music that entices whites to act black will also encourage them to interact with blacks. With every generation of whites like this, the dreams of White Nationalists become harder and harder to realize.
Finally, it’s never good for nationalists of any sort to promote too strongly the arts of other nations or peoples. Part of the appeal of nationalism can be found in the accomplishments, past and present, of people from that nation. This is why over 100,000 Italians attended the funeral of Guiseppi Verdi in 1901. He was a national treasure. Italians were proud of him. Of course, we should all respect and admire fine arts and accomplishments from across the world. But for nationalism to thrive, these should never supplant homegrown arts and accomplishments. So in a white ethnostate, prominence should be awarded to art forms developed and perfected by white people, past and present. This, of course, would include all forms of “white” pop music that are not still steeped in the blues. Rock n’ roll, however, will always be steeped in the blues. Therefore, in a white ethnostate it should always be viewed with suspicion.
But should it be banned in a white ethnostate? Perhaps not. Freedom, you see, is a tricky thing. Not enough it, and people are not going to want to live in your nation. On the other hand, too much of it, and humanity goes feral. Wise leadership amounts to gauging where to draw this line. My hunch is that rock n’ roll and other forms of sexed up black music should be discouraged in the same way smoking is discouraged. It should be heavily taxed and limited to private residences or to venues willing to pay additional fees in order to allow such music to be performed. Further, there should be fairly strict noise pollution ordinances. Rock n’ roll loses much of its power at low volume, which is probably why the instructions on the back cover of the classic Rolling Stones album Let it Bleed tell the listener to play the album “LOUD.” This, of course, should apply to all music. So if Claudio Abbado wishes to rip the roof off an arena with a super loud rendition of the finale from Rossini’s William Tell Overture, he’d get in trouble too.
In many ways, however, the genie is out of the bottle. We can’t put it back nor can we transport ourselves back in time to the pre-rock era. Rock n’ roll is here to stay in one form or another. White Nationalists would not be well served to stand athwart musical history shouting “Blasphemy!” like the John Lithgow preacher character in the movie Footloose. That would only make us look ridiculous. Instead, we should have a realistic understanding of the value and dangers of rock n’ roll and similar music, and proceed from there, preserving as much individual freedom as possible while protecting the integrity of the nation state.
To the question of blacks having a greater genetic preoccupation with sex than other races, earlier we said that White Nationalists should answer yes to remain consistent with the data. Well, there’s another reason. Given the damage that miscegenation and unchecked sexual liberty can do to a race that is barely sustaining itself as it is—not to mentioned besieged in all directions by foreigners who wish ultimately to replace it—White Nationalists cannot afford not to answer yes. Of course, blacks are more sexual than other races. Of course, rock n’ roll and similar forms of black music loosen our sexual discipline and restraint. Of course rock n’ roll is bad for us over the long term. And, despite what Mick Jagger says, it doesn’t matter if you like it.
29 Comments
Great article, I was looking to write an article to broadly define what is rightist music.
I’ve been working on a musical project around this as well. Essentially what it boils down to is using percussion differently, either as a means of dramatization or leading up to a crescendo.
It could be used militarily as in a marching beat or perhaps replicating a folk dance rhythm. This has been the case in forms of rock music that has cast off a lot of its blues and jazz origins.
For instance listening to Black Sabbaths debut album gives contrasting examples. The title track is practically Wagnerian with its use of the tri-tone while much of the rest of the tracks are essentially amped up blues.
Another interesting example is the group Primordial who’s use of percussion varies between militaristic and folkish while lyrically they try to grasp at what ails its predominantly European audience without nailing their colors to any political mast.
I recommend two tracks to illustrate my point; Sons of the Morrigan and Where Greater Men Have Fallen.
https://youtu.be/sKkoLH12NOo
https://youtu.be/472Qh4l1pFU
Black Sabbath Wagnerian??? Why not go to the source: https://www.youtube.com/watch?v=KTM7E4-DN0o?
Because I like both Wagner and Black Sabbath.
As a classically trained multi-instrumentalist, there are only two types of music:
Music I like
Music I don’t like
And both categories are all over the map, stylistically.
And the Jews in music? A book could be written on the subject. For brevity sake I will mention one.
(((Scott Ian))) aka Scott Rosenfeld of the band 80’s metal band Anthrax was the first to openly collaborate with anti-White black nationalist group Public Enemy. Virtue-signaling his love of the downtrodden negro, he wrote in his autobiography “I am the Man” (p. 157):
“The first song I heard from Public Enemy was ‘Miuzi weighs a ton’ and it was like the first time I heard ‘Rock n Roll all nite,’ the first Iron Maiden album or Metallica’s No Life til Leather. It made me want to run down the fucking street and punch people in the face as hard as I could.”
The book is utter dreck, with half a dozen expletives on every page, but the money shot is the beginning when he talks about his parents and grandparents. His father was fired from two jewelry companies for theft but (((somehow))) always ended up working with jewelry.
Ian, like his fellow travelers, is obsessed with nazis and the holocaust. He even did acartoon book where he meets Lemmy Kilmister and envisions Dr Mengala torturing him with dental tools.
On a sidenote, it’s always been my contention that even Jazz was originally a white musical system that was coopted by negroes. Anyone who listens to “Celtic Cowboys” (the music of Irish, Welse and British cowboys who came to the US in the early 1800’s) can hear the first strains of what would develop into Jazz almost 60 years later.
And yes, I’m dreaming of a White Christmas. Hail victory!
“Jazz was originally a white musical system”
I’m in two minds about this. Do you have any examples of this ‘Celtic Cowboy’ style e.g. from youtube?
Jazz has been relentlessly promoted as America’s musical melting pot, and maybe it really is the product of cultural crossing. I’ve heard a couple of African (non-US) Blacks in Europe who can play Jazz (or ‘Psychoemotus if you’re (were) Yusef Lateef), but I’ve not felt e.g. the more vaunted Hugh Masekela actually play Jazz (and maybe he can’t). This despite (or because of) his UK and USA training. Look at his wikipedia page and note his (((promoters))).
Around 2000 there was screened by BBC UK a series in 12 parts entitled “Jazz” by Florentine Films, Producers: Burns/Novick, narrater: Keith David. (The rest of the credits also evoke the invites list for a bar mitzvah).
In the last five minutes of Part 1 the first commercial Jazz recording (in 1917) is noted and the narrator states “… and in 1925 Nick LaRocca himself would suffer a nervous breakdown, abandon the road and return to the construction business in New Orleans as if he had never been a musician. But until the day he died, Larocca would insist that his music, and all jazz music, had been an exclusively White creation. Black people he said, had had nothing to do with it. ‘Many writers have attributed this rhythm that we introduced as something coming from the African jungles and crediting the Negro race with it. My contention is that the Negroes learned to play this rhythm and music from the Whites. The Negro did not play any kind of music equal to [the] White man at any time’. — Nick LaRocca.”
https://en.wikipedia.org/wiki/Nick_LaRocca
“….was a last-minute replacement for Frank Christian in Johnny Stein’s band to play a job up in Chicago, Illinois. This band became the famous Original Dixieland Jazz Band, making the first commercially issued jazz recordings in New York City in 1917.” Should that be (((last-minute)))?
Incidentally, the “Jazz” series lionised John Hammond. He was a Vanderbilt and by appearance, Jewish. Was his life’s mission of promoting – even shaping – Jazz and its exponents motivated by more than an aesthetic attraction to this art form?
Last, but related (ragtime).
WWS in
http://recordings.talkshoe.com/TC-85857/TS-1136094.mp3
observes that Beethoven pre-empted Scott Joplin in Beethoven’s Piano Sonata 32, Opus 111 (Claudio Arrau cut, in the mp3). Listen around 1h 33m, 1h 37m and see (hear) what he means!
Music from a different Ian. Most definitely NOT ((( ))).
https://www.youtube.com/watch?v=z6Tyv2PqzlI
These are some good first thoughts on the topic, but I think this article ultimately falls short. Some thoughts:
1) It’s not clear that post-Beatles rock and roll, with its heavy influences from traditional American pop and British dancehall is negro music.
2) Some pre-Beatles rock and roll is decisively white. I’m thinking specifically of Elvis and Buddy Holly. Duane Eddy’s “Rebel Rouser” was something of a redneck anthem in the 1950s.
3) If there’s a more explicitly white form of rock and roll than Southern rock, I’d love to hear it named, the negro member of the Allman Brothers Band not withstanding.
4) Post-rock country acts like Merle Haggard and Waylon Jennings: Where do they fall?
5) The subversive — and indeed Jewish — character of rock and roll seems hard to dispute, however, nothing to me says that this form cannot be adopted for pro-white purposes. Rock and roll is, quite simply, a white form of music after about 1960.
6) Black metal does not strike me as a form of rock and roll and is more of an authentically new art form, which is more explicitly white than not.
7) In terms of nationalism, I’m not sure there’s a more authentically American form of music than rockabilly.
In any event, these are just some scattershot thoughts on the topic I hope you find useful.
“we should have a realistic understanding of the value and dangers of rock n’ roll and similar music, and proceed from there, preserving as much individual freedom as possible while protecting the integrity of the nation state.”
Indeed, this is my (and Nietzsche’s, and Evola’s and Ludovici’s and Berlioz’s, and Debussey’s) verdict on Wagner: a tasty treat but dangerous in any but tiny, occasional doses.
Wagner, after all, started the whole degenerate process; the original rock n roll:
“The expressionistic intensity of Tristan und Isolde produced violent reactions in its audiences. The young Belgian composer Guillaume Lekeu fainted and had to be carried out of the theatre (he was to die of typhoid from eating a contaminated sorbet a day after his 24th birthday); Chabrier and Ravel both burst into tears while listening to the Prelude. But Berlioz, while reviewing the opera positively, privately admitted to being disgusted by the music, and Tristan became associated in some quarters with loss of self-control and moral atrophy. It acquired a reputation as degenerate, as what the Germans would later call, applying the term to a very different kind of music, ‘entartete Kunst’. Thomas Mann was to satirise this attitude in Buddenbrooks, where Edmund Pfühl, the local organist, refuses to play excerpts from Tristan because of the music’s immorality: ‘I cannot play that, my dear lady!’ he says to Gerda, ‘I am your most devoted servant but I cannot. That is not music – believe me! … this is chaos! This is demagogy, blasphemy, insanity, madness! It is a perfumed fog, shot through with lightning! It is the end of all honesty in art. I will not play it.’ ”
Speaking of Verdi….He shares a centennial with Wagner, but White Nationalists continue to shun him. If ever there was a White nationalist operatic music, it’s Verdi, but I suppose Italians aren’t ‘really’ white.
“Published less than 18 months ago, Peter Conrad’s big book Verdi and/or Wagner happily revisits Nietzsche’s dichotomy between the fog-bound, mephitic, enervating music of the North (Wagner) and the life-giving vitality and pagan health of the music of the Mediterranean – with the difference only that he substitutes Verdi for Bizet. ‘I associate Wagner with periods of post-adolescent gloom,’ Conrad writes; ‘Wagner induced a delicious listlessness, but an excerpt from Verdi could be relied on to activate my sluggish body’; ‘If Wagner was a drug, then Verdi in my early experience was a tonic’; ‘I have a feeling Verdi’s music is good for us.’ Only last year, Thomas Adès described Wagner’s music as ‘fungal’, lamenting his influence on the composers who followed him: ‘his grubby fingerprints’ are ‘everywhere’. ‘Fungal’ is in one sense rather a good image for the modular patterning of Wagner’s music, but it also suggests infestation, decay, sickness and a tendency to spread uncontrollably, while the phrase ‘grubby fingerprints’ brings to mind something insalubrious, if not criminal.”
“Post adolescent gloom”; no wonder metal loves Wagner samples.
http://www.lrb.co.uk/v35/n07/nicholas-spice/is-wagner-bad-for-us
B-but…muh Rammstein !!!
Good point. Muh Rammstein is awesome. Proof that even an initially foreign genre can be conquered, Germanicized and improved by determined White people.
Germanized? A jewish singer making a living being vulgar on stage. Making porno videos and acting like retards.
Rammstein will be banned in my reich.
I’ve thought about this a lot. My Spotify, I noticed, is full of White people who don’t actually “sound” White. Even techno has its origins in chocolate Detroit. I’m hard pressed to find a modern musical genre with an authentic European sound that also is good for working out or cleaning the house or other activities in which one wants to get “pumped up.” It seems minor, but music is anything but minor really.
This is being filed away with the idea Impressionism is degenerate art.
https://www.youtube.com/watch?v=xDDsi9lh1W0
https://www.youtube.com/watch?v=ZKQMxsYaeHs
As a racist, I would like, in matters of sexual morals, to make the principal differentiation between intra-racial sex and inter-racial sex. This case is simple as interracial sex is unacceptable (more precisely, interracial procreation is unacceptable). That leaves us with the question of morals regarding sex.
Here I see the conflict between stability and fun. A stable world without fun is pointless. There is a wealth of erotic culture and it´s pointless to deny it. No definite form to deal with it has been found yet, I guess it´s the usual polar oscillator with no definite answer.
Now to another most important question: what is the nationalist´s relation to foreign cultural products. My answer is simple: attraction or non-attraction. The principle of free market. The google is able to create things that Whites aren´t able to create but appreciate, same as the White is able to create things that the google isn´t able to create but appreciates. The effect and phenomenon of division of labor. The google seems very talented for various kinds of music and singing, and sports and dance. No problem appreciating that. The japs, to my knowledge, have entire sports leagues consisting of non-japanese, in Japan, just for their entertainment. Do I therefore appreciate mixed-race offspring, no. My solution for race-mixing is simple: mixed-race people can´t live in White countries.
With this approach, we are open to all cultural stimuli while maintaining our race.
Honestly, I think this piece is wrong in so many ways and leads to nowhere. I grant there is a problem with sexual licentiousness for a civilisation, but Rock’n’Roll was rather a symptom and catalyst of that development, not its cause. The rest is worrying about “racial purity” too much in the wrong field. In the arts, any influences can be absorbed and remade into something new by Whites. First, I don’t really get what you mean by “Rock’n’Roll”. The kind of music teenagers freaked out to in the 1950s? Are you worried that kids from today might get negrofied by listening to Buddy Holly (of all people), Carl Perkinks, Elvis or Jerry Lee Lewis (the latter three very white southern redneck hillbillies)?
As you yourself point out, rock music has ever since mutated enormously, and there are so many genres very white, producing great music: prog rock, Krautrock, Gothic rock, New Wave, Postpunk, RAC, Metal and all its countless derivatives…
I wouldn’t worry so much about the Rolling Stones either:
https://counter-currents.com/2015/02/the-new-weird-britain/
Loved this CC piece on 4 AD:
https://counter-currents.com/2013/11/the-story-of-4ad-martin-astons-facing-the-other-way/
And here is my favourite Ian:
https://www.youtube.com/watch?v=64x_RCArfjU
And here is Phil Anselmo of Pantera, acting like a Black:
https://www.youtube.com/watch?v=BhmLtkWd5AA
Here is what Mozart did using influences of Turkish and oriental music:
https://www.youtube.com/watch?v=oAHRp7jjaOg
It became somewhat of a craze in Germany in the 18th century:
https://en.wikipedia.org/wiki/Turkish_music_(style)
Just an example, this absorption didn’t make their music less white…
African =/= Oriental/Turkish
That is not the point. I’m arguing that any artistic influences of non-white origin can be absorbed.
Much rock, especially as you get away from “rock ‘n roll” and toward “metal,” sounds to my ear not sexy but ANGRY, defiant, righteously indignant. Perhaps even resentful, bordering on purely destructive. It’s quite enjoyable when you’re in a black-pill mood. It’s not Dionysus or Aphrodite I hear, but Aries. And since the basic rock beat is straight, not swung, it lends itself to marching as easily as to dancing.
As a silly example, go to YouTube and listen to SeventhSon’s parody song, Schlonged – Build A Wall, Deport Them All. Loud. Obviously this aesthetic is useful to WN.
To echo a previous comment: E. Michael Jones, speaking of the autism/impotence of the Right in the ’60s — people who could count the USSR’s warheads and tanks but ignored the cultural revolution going on in their own town — quoted somebody telling how, walking down a street one day in southern California, they first heard Jefferson Airplane. Immediately, he said, they “knew” that behavior was now permitted that wasn’t permitted before.
In today’s case, behavior like taking your own side in a fight.
YOU LOVE YOUR COUNTRY
YOU WANT IT BACK
YOU’LL BUILD A WALL
DEPORT THEM ALL
This is an interesting article that contains some valid points. I would probably agree more with it were I not already familiar with James O’Meara and Julian Lee’s excellent pieces elsewhere on this site that exhibit a deeper understand of the relationships described in this article.
A few points:
“the blues, which we all know as a distinctive form of black traditional music.”
This is true but also somewhat misleading. Listen to traditional African music and then listen to traditional American blues. It is a gap too far to bridge. This is because, while the black ingredient to blues is a sine qua non to that genre, the White elements are equally indispensable: the instruments, the subject matter and the tunes: without traditional English ballads, there would have been no blues. The connection between English ballads and blues is far clearer than that between indigenous African music and blues.
I say this, not to try to rehabilitate the blues and R&B, but to go against the current which tries to claim the blues and rock music as a black, or solely black achievement. While rock has obviously become Whiter over time, the original European component was significant. I believe this is an important point to make because many hipsters, anti-racists and other annoying Whites try to belittle the White achievement in modern pop / folk music. As Julian Lee noted in one of the articles I alluded to above, “There is no Black Led Zeppelin”. Hell, there is no Black Rolling Stones or Black The Beatles. To quote Julian Lee at greater length: “The highest values in rock remain melody and original chord structure. These are the same facets of music considered important in European music. Meanwhile, melody and original chord structure are not values of early black blues or rock’n’roll. In terms of songwriting content and song structure there is no Black Beatles. I will state here that rock music is white.”
In addition, to equate rock and roll with Blackness because of the sexual element is to ignore that facet of Western culture: Dionysianism / Berserkerism / Orgies have been a part of Western culture for thousands of years. Rock and roll, possibly because of the Black contribution, unleashed a sexual element that lies just beneath the surface.
“So in a white ethnostate, prominence should be awarded to art forms developed and perfected by white people, past and present. This, of course, would include all forms of “white” pop music that are not still steeped in the blues.”
The above statement, which is little more than an aside in your article, largely refutes the main point of your article. There is so much rock music that is _fundamentally_ and inextricably White, that rock music itself (leaving aside R&B and pop, which are not White genres anymore) is a huge universe of White achievement. Certainly not the highest achievement; but a valid and admirable folkish art. And of course, specifically metal genres and hard rock skirt on the edges of White nationalism itself. Cf. Varg Vikernes. Read the review sections of Tyr magazine, and you will see an entire universe of subcultures of White rock music.
Samuel,
Thanks for the insights. I agree that “rock” has become a huge accomplishment for whites. That’s in part because it has become less explicitly sexual and less black. The music that I mention in that paragraph you deconstruct towards the end of your comment is more to the atavistic kinds that haven’t lost that boogie jump of the original rock n’ rollers. Robin Thicke is a good example.
One comment: when you say rock n’ roll “unleashed a sexual element that lies just beneath the surface,” where was it before? Not a challenge. I’m just asking. I like all the great classical composers from Monteverdi to Ralph Vaughan Williams. The amount of sexiness in all that music doesn’t approach a minute of James Brown or Elvis Presley, let alone Prince. I know there are sexual elements in *some* classical music, but that is a different world than the tribal boogie stuff whites were dancing to in the 1950s. My hunch is that if left to their own devices, whites would never have developed anything as sexually crass as rock n’ roll. That said, can you recommend any recordings of “Dionysian” music or the like which support your point that sexuality was just under the surface of white music too?
In the last paragraph, which you deconstruct,
Spencer, thank you for your response, and apologies for the lateness of this response.
I think you make a valid objection to what I was getting at. Sex is an extremely powerful energy that is “always below the surface” in that it will be channeled in some way. However, as you note, it was generally tamed in extremely civilized and civilizing ways in Western culture. Dionysianism and things of that sort probably have not intruded into mainstream, high culture in eons. The positive sublimation and use of sexual energy in civilized ways was very well explained in Napoelon Hill’s classic Think and Grow Rich in the chapter titled “The Mystery of Sex Transmutation”. With that in mind, I agree with Spencer Quinn that the sexual element in Western art was not really expressed in vulgar or unbridled ways.
In earnest now: True Classical Music needs to be revived: it reached towering heights under our divine Master Wilhem Richard Wagner and his great successor Richard Strauss.
Then the virus of modernism, promoted by Arnold Schönberg and his second Viennese School arose and prevailed. By the late 20th Century it had reduced Art Music to nihilistic ear-splitting detritus: an inversion of aesthetic values familiar to us from the visual arts. As has been said elsewhere, this the “Sickness unto Death” of our People.
And yet there are now signs of hope for a revival of True Western Music rooted in our Folk that brings Beauty, Joy and Longing (Sehnsucht).
Please put aside for a moment the ‘heavy metal’ which however skilful is still a heavily syncopated backbeat deriving, as the article notes, from tribal africa.
Turn instead to the beautiful recent music of the Tolkien Ensemble: the “Hymn to Elbereth” and the two settings of Galadriel’s Lament. Or sample the very great Runic artistry of “Fire+Ice” in “Runa” and especially “Birdking”.
These are proof that our great Musical Tradition can live, free of the Schmaltz of Hollywood Film scores or the Sub Saharan atavism that is the wailing, keening and stomping of “Pop”.
Learn my friend to cultivate that great Sehnsucht in hearing or creating Music and do not hold it unmanly: for as Tolkien has Gandalf say: “I will not say: do not weep; for not all tears are an evil”
Vehmgerich,
I will check out the Tolkien Ensemble. Thanks. I suspect that not all pop is “subshaharan atavism.” But I really like how you phrased that.
I’m sorry but the white ethnistate will have to tear shoegaze from dead hands.
If you want a great example of negro jungle sex music, try Lionel Richie “all night long”. They used to play it at work constantly and I hate this song.
It definitely has the beat of sexual intercourse, and I wouldn’t be surprised if it’s been featured in actual pornos.
It’s a very typical example of the point this article makes. And it reminds me of how Hitler once called America half-negroized and half-judaized.
How apt.
Why does the alt-right so rarely talk about Hitler. He was a black belt in this art. The best if the alt-right are yellow belts at best in comparison.
First of all, my english is not good enough, so sorry about that.
Greg, your arguments are pretty poor. Jazz music don’t have origins from black people. It is based pretty much on classical, march, folk and traditional pop music. So, how someone can call jazz “black“ music when 99% of harmonies, scales, musical theory is taken from 20th century classical music?
Modal, Cool and Third Stream jazz are based on Debussy, Ravel and Satie impressionism harmonies and art.
Plus, there were hundreds of hundreds influental White jazz musicians who advanced jazz from the early ages.
Rock and Roll in many ways is totally different music from Rock. Rock music, especially subgenres like Progressive Rock, Sympho Rock, New Wave Pop Rock don’t have blues influence at all or it is very minimal. European rock and pop culture is totally different from American. Plus, rock music take influence from Indian or Japanese music also.
Blues on other hand it is music pretty based on Anglo-Celtic culture (bluegrass and folk).
Hip-Hop music is pretty degenerate, but hip-hop don’t have origins in Africa, lo. It is electronic form of music borrowed from bands like Kraftwerk, Musique concrète and other early composers who experiment with electronics and computers. White people invented all technology behind hip-hop also.
Kraftwerk are typical German group. Robotic, disciplined, creative and they were very popular among Negroes in USA. That’s how hip-hop and EDM were born. Kraftwerk influence is all over hip-hop. Blacks take White creation and adopted to their degeneracy, but I have never heard black nationalist to say “Let’s stop listening hip-hop music, because our black hip-hop stars borrowed music from White Germans“. No, they never say that.
We should not life in fantasy world. It is almost 2017, so we should use pop, rock, metal, punk, electronic music to promote our ideas, our values, our ideology among young people. Many young Fascist in Europe started to make EDM music know as vaporwave/retrowave/synthwave with fascist aesthetics. I remember in the past Skrewdriver used to attract 2,000 people on concerts. Music is big part of young people, so we should not focus on things which music is White or non-White. We should focus on things that give results and bring young kids on our side.
Everyone who thinks that in Europe there were not alcoholics, perverts, whores, orgies before 80 years ago, then he probably don’t know nothing. Even in 18th and 19th centuries there were bordels and pubs for alcoholics and White thrash gamblers. Black people didn’t invent pornography and erotic movies. White people did it when cameras and cinemas were invented and created. It is fact.