Counter-Currents
  • Private Events
  • T&C
  • Contact
  • Webzine
  • About
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • RSS
    • Main feed
    • Podcast feed
    • Videos feed
    • Comments feed
  • Advertise

LEVEL2

  • Webzine
  • About
  • Books
  • Podcasts
  • Donate
  • Paywall
  • Crypto
  • Mailing List
  • RSS
    • Main feed
    • Podcast feed
    • Videos feed
    • Comments feed
  • Advertise
  • Recent posts

    • Bullet Train to Babylon

      Trevor Lynch

    • The Wave: Fascism Reenacted in a High School

      Beau Albrecht

    • Silicon Valley’s Anti-White Racial Dysgenics Program

      Jason Kessler

      12

    • The Silent Plague of Elderly Asian Mass Shooters in California

      Jim Goad

      21

    • What Went Wrong with America’s Universities?

      Stephen Paul Foster

    • Greg Johnson Speaks to Horus the Avenger About Charles Krafft

      Greg Johnson

      3

    • A Woman’s Guide to Identifying Psychopaths, Part 6 The Most Common Jobs for Psychopaths

      James Dunphy

      9

    • Davos, or the Technocrats’ Ball

      Mark Gullick

      5

    • A Political Prisoner on the Meaning of January 6

      Morris van de Camp

      2

    • Counter-Currents Radio Podcast No. 520 Inside Serbia with Marko of Zentropa

      Counter-Currents Radio

    • The $50 Million Conservative Inc. Internet Spat

      Spencer J. Quinn

      15

    • Yet Another Woke Remake of a Classic

      Beau Albrecht

      25

    • Spencer J. Quinn & Pox Populi Discuss The No College Club

      Counter-Currents Radio

    • The Populist Moment, Chapter 11, Part 4: “Multitudes” Against the People

      Alain de Benoist

    • The Worst Week Yet: January 15-21, 2023

      Jim Goad

      35

    • Q&A with Jim Goad on The Redneck Manifesto

      Jason Kessler

      3

    • Against Political Hipsterism

      Nicholas R. Jeelvy

      6

    • The Populist Moment, Chapter 11, Part 3: “Multitudes” Against the People

      Alain de Benoist

    • Against White Unionism

      Greg Johnson

      7

    • Hitchcock vs. Visconti

      Derek Hawthorne

      9

    • 40% Off Selected Titles

      Cyan Quinn

      3

    • The Populist Moment, Chapter 11, Part 2: “Multitudes” Against the People

      Alain de Benoist

    • Public Transit in Multicultural Hell

      Gunnar Alfredsson

      12

    • No, You Wasn’t Kings

      Jim Goad

      36

    • The 2022 Counter-Currents Fall Retreat James Edwards & Sam Dickson on White Nationalism in Electoral Politics

      James Edwards & Sam Dickson

      1

    • The Populist Moment, Chapter 11, Part 1: “Multitudes” Against the People

      Alain de Benoist

      1

    • On the Christian Question

      David Lewis

      78

    • Physician, Heal Thyself: The Persecution of Jordan Peterson

      Mark Gullick

      22

    • A Woman’s Guide to Identifying Psychopaths, Part 5 The Workplace

      James Dunphy

      1

    • The Secret of My Success

      Steven Clark

      2

    • We Are All Mr. Bridge

      Spencer J. Quinn

      26

    • Wokeism’s Loyal Evangelical Subjects

      Robert Hampton

      21

    • The Lie of Afrocentrism

      Morris van de Camp

      22

    • Counter-Currents Radio Podcast No. 519 An Update on South America on The Writers’ Bloc

      Counter-Currents Radio

      1

    • 2022 Fundraiser Final Tally

      Greg Johnson

      2

    • The Worst Week Yet: January 8-14, 2023

      Jim Goad

      24

    • The Populist Moment, Chapter 10, Part 2: The Ambiguity of “Communitarianism”

      Alain de Benoist

    • Martin Luther King, Jr. Day Resources at Counter-Currents

      Greg Johnson

      11

    • Před a po Táboru Svatých: k další tvorbě Jeana Raspaila

      Anonymous

    • Remembering Yukio Mishima:
      January 14, 1925–November 25, 1970

      Greg Johnson

      1

    • Morrissey: The Last Romantic Poet?

      Mark Gullick

      16

    • Universities & the Smell of Dead Fish

      Stephen Paul Foster

      7

    • The Populist Moment, Chapter 10, Part 1: The Ambiguity of “Communitarianism”

      Alain de Benoist

    • Remembering G. I. Gurdjieff: January 13, ca. 1866–October 29, 1949

      Collin Cleary

      2

    • Robin Hood Kills a Robber in the Hood

      Jim Goad

      53

    • Preppy Handbooks, or, The Hidden History of the P-Word

      Margot Metroland

      13

    • A Woman’s Guide to Identifying Psychopaths, Part 4 Demographics

      James Dunphy

      4

    • The Eternal Fedora

      Nicholas R. Jeelvy

      12

    • The Banned FOX News Report on Israel’s Role in 9/11

      Spencer J. Quinn

      12

    • Transcript of FOX News’ Banned Report on Israel & 9/11

      Spencer J. Quinn

  • Classics Corner

    • Posthuman Prospects:
      Artificial Intelligence, Fifth Generation Warfare, & Archeofuturism

      Christopher Pankhurst

      5

    • Earnest Sevier Cox:
      Advocate for the White Ethnostate

      Morris van de Camp

      15

    • Remembering Jack London
      (January 12, 1876–November 22, 1916)

      Greg Johnson

      2

    • Remembering Robinson Jeffers:
      January 10, 1887–January 20, 1962

      John Morgan

      3

    • Remembering Pierre Drieu La Rochelle:
      January 3, 1893–March 15, 1945

      Greg Johnson

    • Remembering Rudyard Kipling (December 30, 1865-January 18, 1936)

      Greg Johnson

      10

    • Restoring White Homelands

      Greg Johnson

      34

    • Remembering Hinton Rowan Helper

      Spencer J. Quinn

      11

    • What’s Wrong with Diversity?

      Greg Johnson

      10

    • Redefining the Mainstream

      Greg Johnson

      3

    • Edward Alsworth Ross:
      American Metapolitical Hero

      Morris van de Camp

      8

    • The Talented Mr. Ripley & Purple Noon

      Trevor Lynch

      19

    • Christmas & the Yuletide:
      Light in the Darkness

      William de Vere

      3

    • Thanksgiving Special 
      White Men Meet Indians:
      Jamestown & the Clash of Civilizations

      Thomas Jackson

    • Colin Wilson’s The Outsider

      Sir Oswald Mosley

      4

    • Dostoyevsky on the Jews

      William Pierce

      4

    • Jefferson &/or Mussolini, Part 1

      Ezra Pound

      5

    • I Listened to Chapo Trap House So You Don’t Have To

      Doug Huntington

      98

    • The Homeric Gods

      Mark Dyal

      13

    • Toward a Baltic-Black Sea Union:
      “Intermarium” as a Viable Model for White Revival

      Émile Durand

      55

    • The Politics of Nuclear War, Part 3

      John Morgan

      30

    • The Politics of Nuclear War, Part 2

      John Morgan

      6

    • Columbus Day Special
      The Autochthony Argument

      Greg Johnson

      9

    • The Politics of Nuclear War, Part 1

      John Morgan

      8

    • The Jewish Question for Normies

      Alan Smithee

      13

    • Human Biodiversity for Normies

      Alan Smithee

      10

    • Bring Back Prohibition!

      Alan Smithee

      65

    • Ethnonationalism for Normies
      (Or, “On the Sense of Coming Home”)

      Alan Smithee

      8

    • Enemy & Exemplar:
      Savitri Devi on Paul of Tarsus

      R. G. Fowler

      10

    • Mars & Hephaestus: The Return of History

      Guillaume Faye

      3

  • Paroled from the Paywall

    • Counter-Currents Radio Podcast No. 514 The Ghosts of Christmas Past, Present, & Yet to Come on The Writers’ Bloc

      Counter-Currents Radio

    • Race & the Bible

      Morris van de Camp

      2

    • PK van der Byl, African Statesman

      Margot Metroland

      3

    • Counter-Currents Radio Podcast No. 513 The Writers’ Bloc with Horus on the Implicit Whiteness of Liberalism

      Counter-Currents Radio

      4

    • Counter-Currents Radio Podcast No. 512 Jim Goad on Answer Me!

      Counter-Currents Radio

      3

    • Cleese on Creativity

      Greg Johnson

      6

    • A Woman’s Guide to Identifying Psychopaths, Part 1 Diagnostic Criteria, Associated Personality Disorders, & Brain Attributes

      James Dunphy

      6

    • Death of a Gadfly:
      Plato’s Apology

      Mark Gullick

      1

    • The Populist Moment, Chapter 8:
      Ernesto Laclau & Left-Wing Populism

      Alain de Benoist

    • Counter-Currents Radio Podcast No. 511
      Christmas Lore with Hwitgeard on The Writers’ Bloc

      Counter-Currents Radio

    • Bringing Guns to an Idea Fight:
      The Career of Robert DePugh

      Morris van de Camp

      4

    • War Is Our Father

      Gunnar Alfredsson

    • The Foremost Threat to Life on Earth

      James Dunphy

      2

    • Counter-Currents Radio Podcast No. 510
      The Writers’ Bloc with Jason Kessler on the Kanye Question

      Counter-Currents Radio

    • Counter-Currents Radio Podcast No. 509
      New Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      6

    • The Problem of Gentile Zionism

      Nicholas R. Jeelvy

      1

    • The Populist Moment, Chapter 7:
      Money & the Right

      Alain de Benoist

      2

    • The Populist Moment, Chapter 6:
      Liberalism & Morality

      Alain de Benoist

    • Counter-Currents Radio Podcast No. 507
      The Best Month Ever on The Writers’ Bloc with Anthony Bavaria

      Counter-Currents Radio

    • Who Is Not Going to Save the Nation?

      Beau Albrecht

      4

    • J. R. R. Tolkien’s The Fall of Númenor

      Alex Graham

      3

    • The Most Overlooked Christmas Carols

      Buck Hunter

      4

    • Mirko Savage, Mother Europe’s Son

      Ondrej Mann

      3

    • Counter-Currents Radio Podcast No. 506
      The Writers’ Bloc with Jim Goad on J. D. Vance’s Hillbilly Elegy

      Counter-Currents Radio

      2

    • Counter-Currents Radio Podcast No. 505
      Mark Weber on the Perils of Empire

      Counter-Currents Radio

      3

    • Karl Pearson’s “The Groundwork of Eugenics”

      Spencer J. Quinn

      6

    • Toward a New Political Cosmogony for The Republic

      Nicholas R. Jeelvy

      4

    • Revolution of the Nation

      Sir Oswald Mosley

    • Drudkh’s All Belong to the Night

      Alex Graham

      3

    • Hordes at the Gate, Traitors Within, & a Home Newly Found

      Gunnar Alfredsson

      3

  • Recent comments

    • C.E. Whiteoak

      The Silent Plague of Elderly Asian Mass Shooters in California

      Jim, I think you have pretty well nailed the cause of this mayhem, and I speculate that the CAUSE of...

    • Jim Goad

      Silicon Valley’s Anti-White Racial Dysgenics Program

      “A white man never chooses a nonwhite over a white woman.”Link?What’s both sad and hilarious here is...

    • Fire Walk With Lee

      Silicon Valley’s Anti-White Racial Dysgenics Program

      John Derbyshire unavailable for comment at this moment.

    • Joe Gould

      Silicon Valley’s Anti-White Racial Dysgenics Program

      Since Greg Johnson wrote affirming that White genocide is a fact, the evidence has continued to show...

    • Beau Albrecht

      Silicon Valley’s Anti-White Racial Dysgenics Program

      Interesting that the Tech Tyrants are doing psychological experiments on people involving...

    • DarkPlato

      Greg Johnson Speaks to Horus the Avenger About Charles Krafft

      That was enthralling.  I wish I could have gotten a bust of Greg or anglin while Kraft was still...

    • Shift

      The Silent Plague of Elderly Asian Mass Shooters in California

      Your heart goes out to those victims. "Gun viorence!  Run for your rives!"

    • Whites unite

      The $50 Million Conservative Inc. Internet Spat

      I can’t watch/listen to any of these people. I don’t know how normies do it. Cuckservatism is...

    • Whites unite

      Silicon Valley’s Anti-White Racial Dysgenics Program

      You make it sound like white men are the purveyors of this. White men default to yellow fever...

    • Shawn Bell

      The Silent Plague of Elderly Asian Mass Shooters in California

      Hi Honky Kong, I found Yuri Slezkine’s “The Jewish Century” to be extremely compelling. Kevin...

    • tay sachs

      The Silent Plague of Elderly Asian Mass Shooters in California

      unz.com is alright too

    • The Antichomsky

      A Woman’s Guide to Identifying Psychopaths, Part 6 The Most Common Jobs for Psychopaths

      Right.  A lot of the claimed stats — e.g. 20 percent of CEOs are psychopaths — are dubious on...

    • HonkyKong

      The Silent Plague of Elderly Asian Mass Shooters in California

      Thanks, will give it a look.

    • DarkPlato

      Yet Another Woke Remake of a Classic

      But it makes you feel sorry for them.  They were meant to run free on the Savannah.  I...

    • Mort

      The Silent Plague of Elderly Asian Mass Shooters in California

      Very interesting, thank you for posting

    • Scott

      Yet Another Woke Remake of a Classic

      Turu the Terrible was a gud boi ─ he dindu nuffin. :-)

    • Mort

      The Silent Plague of Elderly Asian Mass Shooters in California

      Watch Europa: The Last Battle https://archive.org/details/europa_the_last_battle_full  

    • Gene Yamnaya

      Greg Johnson Speaks to Horus the Avenger About Charles Krafft

      I miss him a lot. And... Everything Greg said about libraries is true.  

    • The Antichomsky

      A Woman’s Guide to Identifying Psychopaths, Part 6 The Most Common Jobs for Psychopaths

      If leftists could think, they might conclude that the main role of the police is protecting...

    • Bob Roberts

      The Silent Plague of Elderly Asian Mass Shooters in California

      Agreed, there may have been an issue where the gun snapped. We need more stringent gun control...

  • Book Authors

    • Alain de Benoist
    • Anthony M. Ludovici
    • Beau Albrecht
    • Buttercup Dew
    • Charles Krafft
    • Christopher Pankhurst
    • Collin Cleary
    • F. Roger Devlin
    • Fenek Solère
    • Francis Parker Yockey
    • Greg Johnson
    • Gregory Hood
    • H. L. Mencken
    • Irmin Vinson
    • J. A. Nicholl
    • James J. O’Meara
    • Jef Costello
    • Jim Goad
    • Jonathan Bowden
    • Juleigh Howard-Hobson
    • Julius Evola
    • Kerry Bolton
    • Leo Yankevich
    • Michael Polignano
    • Multiple authors
    • Savitri Devi
    • Spencer J. Quinn
    • Tito Perdue
    • Trevor Lynch
  • Webzine Authors

    Contemporary authors

    • Howe Abbott-Hiss
    • Beau Albrecht
    • Aquilonius
    • Anthony Bavaria
    • Michael Bell
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Giles Corey
    • Jef Costello
    • Morris V. de Camp
    • F. Roger Devlin
    • Bain Dewitt
    • Jack Donovan
    • Ricardo Duchesne
    • Émile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Guillaume Faye
    • Stephen Paul Foster
    • Fullmoon Ancestry
    • Jim Goad
    • Tom Goodrich
    • Alex Graham
    • Mark Gullick
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Richard Houck
    • Alexander Jacob
    • Nicholas R. Jeelvy
    • Greg Johnson
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • Trevor Lynch
    • Kevin MacDonald
    • G. A. Malvicini
    • John Michael McCloughlin
    • Margot Metroland
    • Millennial Woes
    • John Morgan
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Spencer J. Quinn
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Hervé Ryssen
    • Kathryn S.
    • Alan Smithee
    • Fenek Solère
    • Ann Sterzinger
    • Thomas Steuben
    • Robert Steuckers
    • Tomislav Sunić
    • Donald Thoresen
    • Marian Van Court
    • Dominique Venner
    • Irmin Vinson
    • Michael Walker
    • Aylmer Wedgwood
    • Scott Weisswald
    • Leo Yankevich

    Classic Authors

    • Maurice Bardèche
    • Julius Evola
    • Ernst Jünger
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Francis Parker Yockey
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
  • Private Events
  • T&C
  • Contact
Sponsored Links
Above Time Coffee Antelope Hill Publishing Paul Waggener IHR-Store Asatru Folk Assembly Breakey Imperium Press American Renaissance The Patrick Ryan Show Jim Goad The Occidental Observer
Print June 5, 2020 27 comments

Imagine Music Without Black People

Scott Weisswald

2,453 words

If there ever was a time that whites and blacks have aired their grievances, then the past two weeks have been it. Cities are burning. People are being killed. “Justice,” as defined by one person or another, is being demanded. In so many ways, the true nature of blacks in the United States is being put on display for all to see. In fact, many blacks are expecting us to thank them for their mere presence. I came across one such example of this in my Twitter feed yesterday, while poring through footage of riots, mismanaged police responses, and those damn bricks. It was only five words:

I initially dismissed this little hypothetical as another example of black hubris, bolstered by various enemies. But for whatever reason, it stuck with me. It’s like a little microcosm of the black attitude towards the white people of the countries they live in, specific to one facet of culture. I pondered the scenario myself, but instead of an answer, I came away with some issues with the concept itself.

For one, this thought experiment implies black people can claim ownership over aspects of pop music. The idea that certain modern musical developments, genres, or leitmotifs belong to one ethnic group in a country that is inescapably multicultural is somewhat disingenuous. Music is a broadly cosmopolitan field, with many different people and groups collaborating on the global stage and across time. It is not inaccurate to suggest certain practices that an ethnic group is notable for are their own musical traditions, but this is typically only applicable to folk music; of course, a German folk song is distinctly German. A pop song? The lines become much more blurry.

The ways in which popular culture is consumed in the United States may have some clear ethnic lines. That much is obvious when you consider the kind of music played at a shopping mall vs the kind of music played from ghetto blasters. But the people who make popular culture inevitably collaborate with people outside of their own group. This was true of great jazz artists, and remains true of black rappers and their often white (or Jewish) producers, managers, and marketers. Is it really accurate to call a genre of pop music in the United States exclusively “black,” just because a black person contributed to it? Even “black” genres and styles are tinged with the influence of other Americans, oftentimes white people.

Popular music will inevitably trend towards some kind of artistic average in a multicultural society, simply because it’s inherently commercial. Label men want to sell as many records as possible, so they try to make their music as broadly appealing as possible. (The end result is often terrible to people like us, with ears, but I digress.) In recent years, there has been a shift towards unprecedented amounts of black representation in pop music, as a reflection of the country’s demographic trends and consumer habits — a negrophilia of sorts has, unfortunately, taken root in the nation. By my count, 51 of the Billboard Hot 100 Tracks on this day — June 5, 2020 — were by black artists exclusively or featured black artists. Even then, is all of that truly “black” music? Or is it a culturally-washed, commercialized sort of “black” music that is sold to naive whites, with black consumers of music correctly assumed to automatically be interested in listening to their kin? To claim this as “black” music simply seems like a shallow opinion at first, and a rather dishonest or even depressing one upon closer inspection. While slightly old data, the number-one producer of Billboard-charting tracks in 2019 was Louis Bell, a white man. I don’t envy anyone who solely identifies with a commercial product, especially not my kin, and the neoliberal, miscegenated “black” music offered to blacks is just as much of a sin.

Another question is raised when considering “music without black people.” The implication here seems to be that without black people in the country, their contribution to music would not exist, or that music, in general, would not be influenced by black people at all. That is true to some extent, in the sense that cooperation would not be as close. But to suggest that you must keep another people in your country in order to collaborate with them is false on its face. In fact, I would suggest that even deeper and more productive cultural collaboration could exist between people if they are allowed to remain separate from one another. There are immutable differences between ethnic groups living together in the United States, but there are many commonalities between us as well — pop culture being one of them, as mentioned.

European peoples have a long history of exploring other nations and bringing home bits and pieces of culture that we liked from there. Other nations have done the same with us. The English put their own spin on Chinese tea; the Japanese love making fusion American food; Persian rugs are a hit in Europe; I occasionally (with some white nationalist guilt) clamber out of my writing chair in search of Ethiopian food. It’s in this way that each nation can decide just how much of a foreign nation’s culture they’d like to partake in, what changes they’d like to make to it, and how “exotic” they would like it to remain. The average Japanese person would balk at American “sushi.” That’s alright, because they don’t have to eat it. Put the Americans and the Japanese in the same spot, and they’d quickly grow to resent us for ruining their food.

So, would a nation without black people necessarily have absolutely no black influence on their music? Possibly. But not necessarily. And any collaborations between black and white musicians would probably yield something much more novel, and much more interesting, simply because differences between our two nations would be acknowledged rather than half-assimilated, as they are now in the United States. When we grow tired of another nation’s culture, we’ll also have our own to turn to. That option doesn’t exist in a multicultural society. And when groups get fed up with this arrangement and seek to practice their own culture again, the outcomes are almost never positive. You begin to see ghettos, imperialist policies, or sometimes actual war. It’s much easier to buy a plane ticket home than it is to insulate yourself from a strange neighbor.

You can buy The World in Flames: The Shorter Writings of Francis Parker Yockey

Let’s entertain the hypothetical, without qualifications, for just one minute. What would music be like without black people?

Well, it would certainly be different.

It would be dishonest to suggest that black people have not greatly influenced music in the United States; distinctly black musical traditions, like the blues, are vitally important forebears to the development of rock’n’roll. Without black people, there would not be jazz. Without black people, we probably would not have breakbeats.

Very well. Just one thing: I reject this whataboutism entirely, simply because of its chauvinism of the present tense.

This thought experiment begs the question. It is implied in the statement that without the contributions of black people in music, we would be worse off. We simply don’t know that. Are acid jazz and postmodern rock really the peak of culture? Who’s to say; this is simply what we have. Personally, I doubt it. To suggest that absent the contributions of black people, Western music would inherently be worse really just underscores an important truth about the differences between us. Black people think that Western music without blacks would be worse for obvious reasons; it wouldn’t be tailored to them and their tastes. White people who were raised in a society with black-influenced music think that music would be worse without black people simply because they know nothing else. The underlying assumption is that genres a lot of white people enjoy, like techno or jazz, would simply cease to exist sans blacks, with nothing to replace them. That’s a bit of a stretch. Culture abhors a vacuum. And today, we can only hypothesize about what music would have developed into without the influence of other cultures. Ultimately, it’s just a matter of a changed variable.

You can certainly make an educated guess about what Western music would be like without black people, because there is a rich corpus of musical works produced by Europeans before the artistic input of Africans was ever considered. The West developed the opera, the concerto, the waltz, and countless other fascinating musical forms before blacks lived in our societies. Knowing the Faustian spirit of our people, I also find it hard to believe these traditions would have remained frozen in time.

It’s plainly obvious that this question is asked in bad faith. Two can play at this game. Imagine music without white people. Specifically, imagine “black” music without white people. The role that whites have played in shaping black music is undeniable; both the pop-culture “black” music and actual, black-dominated genres, such as jazz. A rather obvious example of a white contribution to the black musical canon would be our instruments. What would Thelonious Monk have done without a piano? Miles Davis without a trumpet?

Let’s get even more abstract, beyond just instruments. Where would black music be without music theory? Hip-hop relies heavily on the boom-bap and trap beats, drum patterns uncovered only by formalizing the arrangement of sounds on a logical timeline. If blacks didn’t know how to syncopate a kick drum, there’d be no “Old Town Road.” The very first hip-hop records — and for that matter, even most hip-hop records made today — are a collage of sampled, previously-existing music and produced drum beats. Even the drum beats are sometimes sampled, as is the case with the famous Amen break. Without a massive library of Western music, almost all of it made by whites, what would the emcees of New York have sampled instead? In fact, the disk jockeys of the East Coast can’t even lay claim to the libertine, cut-and-paste workflow that made their productions possible. That honor goes to a bunch of sexually perverted English provocateurs.

Even when handed the rudiments (and then some) of music by Europeans, blacks will gravitate towards tribal bombastics. When whites use that aforementioned Amen break — one recorded by blacks, actually — we produce “Hajnal.” When blacks use it, they produce “Fuck tha Police.”  Our interests and inspirations are very clearly different, so why should we entertain the notion that black contributions to our musical canon are some kind of heaven-sent gift to us? We work with what we have, no matter where it came from.

A lot of music by black artists in the United States comes from a place of great pain. The most compelling works from black musicians inevitably dwell upon trauma; jazz came from an environment rife with drugs, sectarian violence, and inner-city tribulations that are far from forgotten. Gangsta rap is not a violent boast for the sake of violent boasts; to the thugs of the 90s, it was simply a way of life that they were putting on tape. Modern black musicians, typically rappers and RNB singers, spend a lot of track time discussing theirs and others’ addictive habits, resentment about their upbringing, and (perceived) lack of recognition in their spheres.

The life of a famous black person in the United States doesn’t seem conducive to longevity or happiness. Something has clearly gone terribly wrong. Many of them end up overdosing. Many of them are angry and violent predators. Some are just very depressed. No matter their dysfunction, it’s readily apparent that a great many blacks have a hard time fitting into white societies, and they turn to the arts as a way of expressing that. Whites will probably have a hard time understanding a lot of it; I don’t think I am being presumptuous when I say the average reader of this site can’t empathize with a rap song.

Black art, nonetheless, is still an expression of pain, a lashing-out at what they believe to be their oppressor. This animosity is goaded on by the same people who profit from it. That this same content is consumed by a lot of white people is really quite ironic, and frankly, unconscionable. The suggestion that we would be losing out on black music if they were no longer in the country is really suggesting that overwhelmingly Jewish media companies would be losing out on the ability to commodify their suffering and anger — anger that is presently threatening to destroy us. In essence, some hip-hop-loving Leftist insistent on keeping his token blacks in the country really wants to keep them here to suffer for his entertainment. That’s not even the worst part, either. Insisting on blacks remaining in the country would be to trade one’s life and society for rhymes about money, bitches, and rims. I also find it funny that black people wish to stay in the United States because of the music they make. It’s like they need us to give them a reason to be pissed off.

This line of reasoning isn’t exclusive to blacks, but it’s particularly unjust when applied to them. In music spheres, I have heard unironic statements about white musicians along the lines of “they made better music when they were on heroin.” Is that true? Probably. But that’s a rather damning indictment of the state of culture and arts in the West than it is evidence good art only arises from suffering. It’s also very cruel. The opiate-addled grunge rocker can overcome his addiction. The American black is stuck here, and to suggest he needs to stay in order to sate the sickened cultural appetites of the nation’s youth, political Left, and culture-distorting “entertainment” industry borders on self-destructive minstrelsy. It’s the cultural equivalent of poking the bear.

Black people aren’t the only ones who suffer while living in white societies. We suffer, too. We suffer from crimes committed against us, the watering-down of our culture to commercialist dreck, and the burning down of the cities that we built. If nobody is happy, then who cares about rap albums and jazz standards?

So, let’s imagine music without black people.

If that means society isn’t being torn apart, then I’ll take it any day of the week.

If you want to support our work, please send us a donation by going to our Entropy page and selecting “send paid chat.” Entropy allows you to donate any amount from $3 and up. All comments will be read and discussed in the next episode of Counter-Currents Radio, which airs every Friday.

Don’t forget to sign up for the twice-monthly email Counter-Currents Newsletter for exclusive content, offers, and news.

 

Related

  • No, You Wasn’t Kings

  • The Populist Moment, Chapter 10, Part 2: The Ambiguity of “Communitarianism”

  • Martin Luther King, Jr. Day Resources at Counter-Currents

  • The Worst Week Yet: January 1-7, 2023

  • The 2023 US Omnibus Spending Bill, Part 2

  • A Woman’s Guide to Identifying Psychopaths, Part 3 Appearance, Communication Styles, & Tastes

  • The Choco-Morocco Sovereign Citizens’ Militia

  • Counter-Currents Radio Podcast No. 512 Jim Goad on Answer Me!

Tags

Blacks in Americacollaborationismcultureculture distortionhip-hopJews in musicmulticulturalismmusicrap musicScott Weisswald

Previous

« What Else Would We Have?

Next

» The Counter-Currents 2020 Fundraiser
A Home Run for Counter-Currents

27 comments

  1. John Wilkinson says:
    June 5, 2020 at 9:29 am

    I didn’t catch this if you mentioned it, but there’s another aspect of “what would music be like without black people?” that needs to be pointed out. And this is normie friendly tier…

    Does musical contribution give them a free pass to fraudulently use counterfeit money? Does it give them carte blanche to resist arrest when high on fentanyl? Does their musical aptitude excuse them from behaving like civilized human beings?

    In other words, imagine civilization without white people.

  2. dalai_lama_trapeze says:
    June 5, 2020 at 9:54 am

    Excellent & very fair-minded article. And a subtle rejoinder to that Jeelvy article a few weeks backs. Despite everything, I still rate PM Dawn.

    1. Estonian Krunk says:
      June 5, 2020 at 7:41 pm

      Nice to know there are still PM Dawn fans. My shaky rap fandom was undercut for good when KRS One, that bully, bumrushed Prince B simply because Prince B said rappers were sometimes too violent, or something like that, and the idiot KRS proved him right.

  3. Estonian Krunk says:
    June 5, 2020 at 9:55 am

    It would be the music of the spheres. All geometric and mathematical. Blacks are terrible at math.

  4. Hamburger Today says:
    June 5, 2020 at 10:18 am

    If nobody is happy, then who cares about rap albums and jazz standards?

    This is illumination.

  5. James J. O'Meara says:
    June 5, 2020 at 11:02 am

    In my C-C piece, “I’ll Have a White Rock, Please”

    https://counter-currents.com/2011/11/white-rock/

    that is “the beat” is characteristic of black music, then by dialing back on rhythm we can discern that New Age music is the Platonic ideal of White music without black input. If that seems to hippie-ish, consider Kraftwerk (discussed here recently by Mr. Weiswald) whose motoric beats would influence nerdy suburban blacks like Carl Craig in creating Detroit Techno (Craig on Kraftwerk: “They were so stiff, they SWUNG!”).

  6. Tony says:
    June 5, 2020 at 11:05 am

    Imagine music without blacks?

    Nah brah. Like Mr Wilkinson commented earlier, I’m too busy imagining life without blacks.

    I’ll happily forfeit Aretha Franklin if Maxine Waters will disappear. I’ll give up Wilson Pickett if I never again have to gaze upon the withered visage of Al Sharpton.

  7. Hungor says:
    June 5, 2020 at 1:07 pm

    Lets see, without white people, blacks could never have recorded even one second of their incredible musical genius. In Africa, they never invented the wheel, and I would assume that would still hold true today, nonetheless inventing a record player or a recording device.
    They make their jungle beats on equipment invented by White men, and every part of the process was invented by white men. They would still be beating drums make of animal skins and singing ooga booga if not for us.

  8. Titus Groan says:
    June 5, 2020 at 1:48 pm

    I do like some black artists. Reggae, etc. I’m not discriminatory. However, I do suspect the tendentious history of rock music that highlights the blues roots and black forebears is exaggerated, and an equally valid history stressing white rockebilly and country roots could be written. There is an obsession of media impresarios, dating back to the roots of rock, to unite white and black culture, but the two spontaneously separate over time like oil and water. For example, the birth of early hard rock and folk in the sixties was a white affair. Then there will be a corporate attempt to unite the two again by creating a black “legend”, such as Jimmy Hendrix, who in reality has only one good song and a cover of a song in which he botched the lyrics. Next there was the rise of 80s disco pop type music, a fundamentally white genre, and the great unifier of Michael Jackson was presented. Michael Jackson is good of course, but is really more a cultural phenomenon outside the US, where people don’t understand the American nuances well. No white kids wore Michael Jackson shirts stateside. Another example is the run dmc Aerosmith cover of walk this way.

    I find whites, particularly young male, are more attracted to authentic black gansta rap type music than the reverse, and I believe it has to do with the fact that their lyrics are real, about something, whereas white lyrics can only be arcane messages about the “IT.”

  9. Ian Smith says:
    June 5, 2020 at 2:20 pm

    There’d be no Charlie Parker, but no Nikki Minhaj or O. T. Genasis, so it’s a wash, at best.

  10. Some White Guy says:
    June 5, 2020 at 2:45 pm

    Since I’ve not listened to pretty much any music created in the past 30 years primarily because of black influence on what is available, I’d miss them not one whit.

    And as long as I can keep my CD recordings or type the titles in on YouTube, of some of my older favorites like Shirley Bassey or Dionne Warwick, then ta-ta black musicians! Don’t let the door hit you on the way out.

  11. Vehmgericht says:
    June 5, 2020 at 5:06 pm

    I have never liked black music, though I can certainly silll appreciate and even admire the very great bravura and musicianship often displayed. I freely admit that the great tradition of Western art-music lost its way after the First World War, so that we Occidentals have accompanied much less in this contemporary epoch of decay and vulgarity which circumscribes popular imagination and memory.

    But at heart I do not particularly enjoy listening to any of the musical genres of black origin: blues, jazz, soul, hip-hop or even rock! The truth is that I find their insistent rhythms wearing and even base, while the melodies and harmonies of blues-derived tonality are to my ears somehow angular and ugly. It is as if there is something of the stench and delirium of tribal Africa in all black music: so that it is stunted and cannot express the truly beautiful or truly sublime: it can never transport me.

    For most black music concerns the hylic level of human existence: lust and jealousy, exuberance and misery, or bragging and hostility. Jazz, which utilises European instruments and compositional techniques, may achieve the level of the noetic in textural ingenuity, but even there it cannot approach the heights of our great master J.S. Bach. No, only the European ethos can create music of a pneumatic nature, for our people and their civilisation are rooted in the great Faustian quest to create, to know and to overcome. That is why Western aesthetics date back to the very beginning, to Plato and Aristotle. One has only to hear recreations of the very earliest Ancient Greek compositions to recognise an immediate kinship.

    Our music can scale the heights of heaven, express the complex emotions of the poet or evoke the wild beauty of our northern homelands and the glories of our people. There is nothing in the world’s music that can approach that. The African-American composer or the BAME musician may be gifted, expressive and spontaneous to the n-th degree, but he lacks the soaring Geist of the West (and maybe even resents it). His thumos may be unequal to the aesthetic and spiritual ambition of Bach’s Kunst der Fuge or Beethoven’s Late Quartets. Winterreise and Parsifal will perhaps bore and repel him. And the ‘urban’ youth, if exposed to these great masterpieces, invariably revile them as excremental.

    Therefore a world without black music would be no loss to me at all, but rather a great relief. Indeed I can remember when it was less prevalent and less intrusive, when it was not inflicted on us in public transport, at supposedly solemn occasions or upon the sick in hospital wards — and when it was not so comically and universally revered as sancrosant and peerless. Oh for a return to those days!

    1. maxsnafu says:
      June 6, 2020 at 11:33 am

      Black music is perishable. Bach’s Kunst der Fuge is timeless.

  12. Estonian Krunk says:
    June 5, 2020 at 6:40 pm

    Not directly related to music, but an inscription from Egypt’s Pepi II, circa 2270 BC, says the king instructed a governor of “Elephantine” to deliver a black pygmy to the court to dance and amuse the king (The Book of the Dead. E.A. Wallis Budge, translator. Citadel Press, 1960, page 22). The inscription implied that previous governors had also done this. So, it’s more like “We was jestazs,” not “We was kangz.”

  13. TechNat says:
    June 5, 2020 at 9:55 pm

    Techno is white.

    All the top techno labels are from NW Europe.

  14. Adam Smythe says:
    June 6, 2020 at 5:35 am

    They can keep the bebop. We’ll keep the electricity.

  15. Rhodok says:
    June 6, 2020 at 6:14 am

    “Imagine Music Without Black People”

    Well, we can dream can’t we?

    While out on my bicycle the other day I imagined a magic button. Say there is a button that when pressed just once would instantly remove all whites from earth. Without pain, misery or anything like that, whites would simply vanish. All the stuf we created would remain, but once the button is pressed, no more whites.

    Even better: nobody would remember any whites either. Not even the person that pressed the button. It would simply be a world, exactly like today, but without any whites and without anybody remembering whites. (And lets imagine that pictures and video’s of whites would also magically be scrubbed)

    So, the question is to blacks: Would you press the button?

  16. Alexandra says:
    June 6, 2020 at 9:07 am

    I live in a world without black music — I have kept my dial tuned to a classical music station ever since I’ve been inadvertently ‘quarantined’ by age and underlying conditions since early March. Beautiful waltzes, opera arias, lyric symphonic second movements, as well as the stirring and inspiring — “Entrance of the Gods into Valhalla” — float through my day. Try it for 30 days, you’ll never go back.

  17. Vauquelin says:
    June 7, 2020 at 12:23 pm

    Pains me to see self-proclaimed WNs going soft on black music out of some liquetoast attempt at fairness.
    Blacks only care about rhythm. What matters to a white brain instead is melody – something that requires a musical insights that negroes are incapable of.

    1. Vauquelin says:
      June 7, 2020 at 12:25 pm

      *Make that “milquetoast.”

  18. Callan Andresson says:
    June 8, 2020 at 5:31 am

    Imagine music without black people, eh?
    Just imagine; no Rick James, no Prince, no James Brown, no silly Mo-town, no Aretha Franklin, no Ike ‘n’ Tina, no stoopid rappin’, no Bootsy Collins, no Sly and the Family BS, no Stevie Wonder etc.
    Then, if there was no black people music…no goddamn Rolling Stones, Eric Clapton, Eric Burdon, Rod Stewart, and assorted irritating English idiot performers.
    As ol’ Satchmo said, “What A Wonderful World…”.
    The World-wide moronification process is in full swing.

  19. Alain says:
    June 8, 2020 at 7:56 am

    Most subgenres of American “Black” music were spearheaded by Whites, usually to superior effect. Even the earliest known example of a proto-Rap song was “Trouble Every Day” by Frank Zappa.

  20. Dennis says:
    June 8, 2020 at 8:36 am

    “Imagine music without black people”

    No need to imagine it. It’s called the Western Classical Music Tradition (“classical” used here in its colloquial sense, not the technical sense of the era of roughly 1750 to the 1820). Over 1000 years of some of the greatest artistic creations ever known.

    The formal perfection and ingenuity, sublime spiritual striving, and profound emotional and intellectual depth of Western music from the age of Plainchant down through the late romantic and early modern era are unmatched by anything that can be attributed to blacks or black culture (whether in Africa itself or the diaspora).

  21. Mac says:
    June 8, 2020 at 12:41 pm

    That tweet is aimed at the same people who genuinely believe that the US becoming a failed Latin American country is a worthy trade off for easy access to hot tamales. The existence of those Luther Vandross & George Benson records totally counterbalances our inner cities resembling the Congo as far as they’re concerned. Riots? Mass fentanyl deaths? Your kid is murdered? Just mention Motown & tacos, all will be forgiven, part & parcel of diversity.

  22. Gnome Chompsky says:
    June 22, 2020 at 8:03 am

    Scott’s article is of interest.

    The contribution (except for some forms of jazz and the blues in general) is over-rated.

    Even in jazz, over 100 years ago, interesting white Innovations on it were already present in places as distant from each other as Germany and Australia.

    To what extent did white styles such as Cajun, bluegrass, country, influence early jazz? From listening, it is pretty obvious.

    That does not apply to Coltrane, Davis, et al., but their work is solidly rooted in western traditions.

    The degenerate Chet Baker and others formed a west-coast sound, at its best just as valid (still hear it in shops here).

    I could write 30,000 or more words on the topic, so two quick themes from here.

    When at a karaoke bar, I enjoy belting out Johnny B. Goode, and doing whatever Rick James (R.I..P.) did on Superfreak. It works.

    Techno

    Techno has nothing to do with black music (which is generally godawful for the last 15 and more years).,

    I was once dragged to a ‘performance’ by the ‘lengendary’ Freddie Knuckles of Detroit (I gather it is a very happy city now).
    I was mentally referring to him at the time as Freddy Knucle Dragger, since that was his posture.

    All of the black lies about inventing techno are just that, lies, from your now dying city.

    Grandmaster Flash, (a true DJ piece) Adventures on the Wheels of Steel, something of a masterpiece, on the other hand, Africa Bambata’s Planet Rock is entirely based on a long sample from Kraftwerk, with some vocoder vox on top.

    Wow, what originality?

    Techno is a european and east-asian creation.

    Breakbeats were inevitable not because of black creativity, but because of the tempo manipulations offered since the appearance of machines and programs that make it very easy.

  23. James Dunphy says:
    July 19, 2020 at 7:53 pm

    Blacks cannot detect differences in melody as well as whites on average according to Richard Lynn, but they’re just as good at detecting rhythm, so most blacks literally don’t hear the same thing when they listen to music like Beethoven as we do. Therefore, the black woman on Twitter was correct that– to blacks– music would be worthless without them–as was Chuck Berry when sang a song telling Beethoven to “roll over” in his grave. Relative to whites, however, they are idiots when they express this sentiment, because they can’t hear what we hear. They can’t go the places we go metaphysically in our minds.

    “So, would a nation without black people necessarily have absolutely no black influence on their music?”

    Russia has no black people, but black music from the US influences them. As long as another white nation has a black minority, especially one as big as the US, then the black influence will trickle in. Just look at the top pop songs in Russia. While they have a dark tone and a wispy flowing quality which are all their own, they have the American pop beat and they don’t really sing but do a kind of tonal rap. Here is an example. https://www.youtube.com/watch?v=JGLZbBK5wTw

    I plan to write an article about music soon, but as to how music would be without blacks, it would still be a downgrade from traditional forms, the 19th century, and even the early 20th century. I’ll explain why I think this is in my article, but thanks for asking thought-provoking questions.

  24. Paul Orsi says:
    March 20, 2021 at 4:36 pm

    4th World music will quagmire this discussion. Mixing different cultural sounds is the future so the best bet is that there will be a creative tension between Identity and the Other.

Comments are closed.

If you have Paywall access,
simply login first to see your comment auto-approved.

Note on comments privacy & moderation

Your email is never published nor shared.

Comments are moderated. If you don't see your comment, please be patient. If approved, it will appear here soon. Do not post your comment a second time.

  • Recent posts

    • Bullet Train to Babylon

      Trevor Lynch

    • The Wave: Fascism Reenacted in a High School

      Beau Albrecht

    • Silicon Valley’s Anti-White Racial Dysgenics Program

      Jason Kessler

      12

    • The Silent Plague of Elderly Asian Mass Shooters in California

      Jim Goad

      21

    • What Went Wrong with America’s Universities?

      Stephen Paul Foster

    • Greg Johnson Speaks to Horus the Avenger About Charles Krafft

      Greg Johnson

      3

    • A Woman’s Guide to Identifying Psychopaths, Part 6 The Most Common Jobs for Psychopaths

      James Dunphy

      9

    • Davos, or the Technocrats’ Ball

      Mark Gullick

      5

    • A Political Prisoner on the Meaning of January 6

      Morris van de Camp

      2

    • Counter-Currents Radio Podcast No. 520 Inside Serbia with Marko of Zentropa

      Counter-Currents Radio

    • The $50 Million Conservative Inc. Internet Spat

      Spencer J. Quinn

      15

    • Yet Another Woke Remake of a Classic

      Beau Albrecht

      25

    • Spencer J. Quinn & Pox Populi Discuss The No College Club

      Counter-Currents Radio

    • The Populist Moment, Chapter 11, Part 4: “Multitudes” Against the People

      Alain de Benoist

    • The Worst Week Yet: January 15-21, 2023

      Jim Goad

      35

    • Q&A with Jim Goad on The Redneck Manifesto

      Jason Kessler

      3

    • Against Political Hipsterism

      Nicholas R. Jeelvy

      6

    • The Populist Moment, Chapter 11, Part 3: “Multitudes” Against the People

      Alain de Benoist

    • Against White Unionism

      Greg Johnson

      7

    • Hitchcock vs. Visconti

      Derek Hawthorne

      9

    • 40% Off Selected Titles

      Cyan Quinn

      3

    • The Populist Moment, Chapter 11, Part 2: “Multitudes” Against the People

      Alain de Benoist

    • Public Transit in Multicultural Hell

      Gunnar Alfredsson

      12

    • No, You Wasn’t Kings

      Jim Goad

      36

    • The 2022 Counter-Currents Fall Retreat James Edwards & Sam Dickson on White Nationalism in Electoral Politics

      James Edwards & Sam Dickson

      1

    • The Populist Moment, Chapter 11, Part 1: “Multitudes” Against the People

      Alain de Benoist

      1

    • On the Christian Question

      David Lewis

      78

    • Physician, Heal Thyself: The Persecution of Jordan Peterson

      Mark Gullick

      22

    • A Woman’s Guide to Identifying Psychopaths, Part 5 The Workplace

      James Dunphy

      1

    • The Secret of My Success

      Steven Clark

      2

    • We Are All Mr. Bridge

      Spencer J. Quinn

      26

    • Wokeism’s Loyal Evangelical Subjects

      Robert Hampton

      21

    • The Lie of Afrocentrism

      Morris van de Camp

      22

    • Counter-Currents Radio Podcast No. 519 An Update on South America on The Writers’ Bloc

      Counter-Currents Radio

      1

    • 2022 Fundraiser Final Tally

      Greg Johnson

      2

    • The Worst Week Yet: January 8-14, 2023

      Jim Goad

      24

    • The Populist Moment, Chapter 10, Part 2: The Ambiguity of “Communitarianism”

      Alain de Benoist

    • Martin Luther King, Jr. Day Resources at Counter-Currents

      Greg Johnson

      11

    • Před a po Táboru Svatých: k další tvorbě Jeana Raspaila

      Anonymous

    • Remembering Yukio Mishima:
      January 14, 1925–November 25, 1970

      Greg Johnson

      1

    • Morrissey: The Last Romantic Poet?

      Mark Gullick

      16

    • Universities & the Smell of Dead Fish

      Stephen Paul Foster

      7

    • The Populist Moment, Chapter 10, Part 1: The Ambiguity of “Communitarianism”

      Alain de Benoist

    • Remembering G. I. Gurdjieff: January 13, ca. 1866–October 29, 1949

      Collin Cleary

      2

    • Robin Hood Kills a Robber in the Hood

      Jim Goad

      53

    • Preppy Handbooks, or, The Hidden History of the P-Word

      Margot Metroland

      13

    • A Woman’s Guide to Identifying Psychopaths, Part 4 Demographics

      James Dunphy

      4

    • The Eternal Fedora

      Nicholas R. Jeelvy

      12

    • The Banned FOX News Report on Israel’s Role in 9/11

      Spencer J. Quinn

      12

    • Transcript of FOX News’ Banned Report on Israel & 9/11

      Spencer J. Quinn

  • Classics Corner

    • Posthuman Prospects:
      Artificial Intelligence, Fifth Generation Warfare, & Archeofuturism

      Christopher Pankhurst

      5

    • Earnest Sevier Cox:
      Advocate for the White Ethnostate

      Morris van de Camp

      15

    • Remembering Jack London
      (January 12, 1876–November 22, 1916)

      Greg Johnson

      2

    • Remembering Robinson Jeffers:
      January 10, 1887–January 20, 1962

      John Morgan

      3

    • Remembering Pierre Drieu La Rochelle:
      January 3, 1893–March 15, 1945

      Greg Johnson

    • Remembering Rudyard Kipling (December 30, 1865-January 18, 1936)

      Greg Johnson

      10

    • Restoring White Homelands

      Greg Johnson

      34

    • Remembering Hinton Rowan Helper

      Spencer J. Quinn

      11

    • What’s Wrong with Diversity?

      Greg Johnson

      10

    • Redefining the Mainstream

      Greg Johnson

      3

    • Edward Alsworth Ross:
      American Metapolitical Hero

      Morris van de Camp

      8

    • The Talented Mr. Ripley & Purple Noon

      Trevor Lynch

      19

    • Christmas & the Yuletide:
      Light in the Darkness

      William de Vere

      3

    • Thanksgiving Special 
      White Men Meet Indians:
      Jamestown & the Clash of Civilizations

      Thomas Jackson

    • Colin Wilson’s The Outsider

      Sir Oswald Mosley

      4

    • Dostoyevsky on the Jews

      William Pierce

      4

    • Jefferson &/or Mussolini, Part 1

      Ezra Pound

      5

    • I Listened to Chapo Trap House So You Don’t Have To

      Doug Huntington

      98

    • The Homeric Gods

      Mark Dyal

      13

    • Toward a Baltic-Black Sea Union:
      “Intermarium” as a Viable Model for White Revival

      Émile Durand

      55

    • The Politics of Nuclear War, Part 3

      John Morgan

      30

    • The Politics of Nuclear War, Part 2

      John Morgan

      6

    • Columbus Day Special
      The Autochthony Argument

      Greg Johnson

      9

    • The Politics of Nuclear War, Part 1

      John Morgan

      8

    • The Jewish Question for Normies

      Alan Smithee

      13

    • Human Biodiversity for Normies

      Alan Smithee

      10

    • Bring Back Prohibition!

      Alan Smithee

      65

    • Ethnonationalism for Normies
      (Or, “On the Sense of Coming Home”)

      Alan Smithee

      8

    • Enemy & Exemplar:
      Savitri Devi on Paul of Tarsus

      R. G. Fowler

      10

    • Mars & Hephaestus: The Return of History

      Guillaume Faye

      3

  • Paroled from the Paywall

    • Counter-Currents Radio Podcast No. 514 The Ghosts of Christmas Past, Present, & Yet to Come on The Writers’ Bloc

      Counter-Currents Radio

    • Race & the Bible

      Morris van de Camp

      2

    • PK van der Byl, African Statesman

      Margot Metroland

      3

    • Counter-Currents Radio Podcast No. 513 The Writers’ Bloc with Horus on the Implicit Whiteness of Liberalism

      Counter-Currents Radio

      4

    • Counter-Currents Radio Podcast No. 512 Jim Goad on Answer Me!

      Counter-Currents Radio

      3

    • Cleese on Creativity

      Greg Johnson

      6

    • A Woman’s Guide to Identifying Psychopaths, Part 1 Diagnostic Criteria, Associated Personality Disorders, & Brain Attributes

      James Dunphy

      6

    • Death of a Gadfly:
      Plato’s Apology

      Mark Gullick

      1

    • The Populist Moment, Chapter 8:
      Ernesto Laclau & Left-Wing Populism

      Alain de Benoist

    • Counter-Currents Radio Podcast No. 511
      Christmas Lore with Hwitgeard on The Writers’ Bloc

      Counter-Currents Radio

    • Bringing Guns to an Idea Fight:
      The Career of Robert DePugh

      Morris van de Camp

      4

    • War Is Our Father

      Gunnar Alfredsson

    • The Foremost Threat to Life on Earth

      James Dunphy

      2

    • Counter-Currents Radio Podcast No. 510
      The Writers’ Bloc with Jason Kessler on the Kanye Question

      Counter-Currents Radio

    • Counter-Currents Radio Podcast No. 509
      New Ask Me Anything with Greg Johnson

      Counter-Currents Radio

      6

    • The Problem of Gentile Zionism

      Nicholas R. Jeelvy

      1

    • The Populist Moment, Chapter 7:
      Money & the Right

      Alain de Benoist

      2

    • The Populist Moment, Chapter 6:
      Liberalism & Morality

      Alain de Benoist

    • Counter-Currents Radio Podcast No. 507
      The Best Month Ever on The Writers’ Bloc with Anthony Bavaria

      Counter-Currents Radio

    • Who Is Not Going to Save the Nation?

      Beau Albrecht

      4

    • J. R. R. Tolkien’s The Fall of Númenor

      Alex Graham

      3

    • The Most Overlooked Christmas Carols

      Buck Hunter

      4

    • Mirko Savage, Mother Europe’s Son

      Ondrej Mann

      3

    • Counter-Currents Radio Podcast No. 506
      The Writers’ Bloc with Jim Goad on J. D. Vance’s Hillbilly Elegy

      Counter-Currents Radio

      2

    • Counter-Currents Radio Podcast No. 505
      Mark Weber on the Perils of Empire

      Counter-Currents Radio

      3

    • Karl Pearson’s “The Groundwork of Eugenics”

      Spencer J. Quinn

      6

    • Toward a New Political Cosmogony for The Republic

      Nicholas R. Jeelvy

      4

    • Revolution of the Nation

      Sir Oswald Mosley

    • Drudkh’s All Belong to the Night

      Alex Graham

      3

    • Hordes at the Gate, Traitors Within, & a Home Newly Found

      Gunnar Alfredsson

      3

  • Recent comments

    • C.E. Whiteoak

      The Silent Plague of Elderly Asian Mass Shooters in California

      Jim, I think you have pretty well nailed the cause of this mayhem, and I speculate that the CAUSE of...

    • Jim Goad

      Silicon Valley’s Anti-White Racial Dysgenics Program

      “A white man never chooses a nonwhite over a white woman.”Link?What’s both sad and hilarious here is...

    • Fire Walk With Lee

      Silicon Valley’s Anti-White Racial Dysgenics Program

      John Derbyshire unavailable for comment at this moment.

    • Joe Gould

      Silicon Valley’s Anti-White Racial Dysgenics Program

      Since Greg Johnson wrote affirming that White genocide is a fact, the evidence has continued to show...

    • Beau Albrecht

      Silicon Valley’s Anti-White Racial Dysgenics Program

      Interesting that the Tech Tyrants are doing psychological experiments on people involving...

    • DarkPlato

      Greg Johnson Speaks to Horus the Avenger About Charles Krafft

      That was enthralling.  I wish I could have gotten a bust of Greg or anglin while Kraft was still...

    • Shift

      The Silent Plague of Elderly Asian Mass Shooters in California

      Your heart goes out to those victims. "Gun viorence!  Run for your rives!"

    • Whites unite

      The $50 Million Conservative Inc. Internet Spat

      I can’t watch/listen to any of these people. I don’t know how normies do it. Cuckservatism is...

    • Whites unite

      Silicon Valley’s Anti-White Racial Dysgenics Program

      You make it sound like white men are the purveyors of this. White men default to yellow fever...

    • Shawn Bell

      The Silent Plague of Elderly Asian Mass Shooters in California

      Hi Honky Kong, I found Yuri Slezkine’s “The Jewish Century” to be extremely compelling. Kevin...

    • tay sachs

      The Silent Plague of Elderly Asian Mass Shooters in California

      unz.com is alright too

    • The Antichomsky

      A Woman’s Guide to Identifying Psychopaths, Part 6 The Most Common Jobs for Psychopaths

      Right.  A lot of the claimed stats — e.g. 20 percent of CEOs are psychopaths — are dubious on...

    • HonkyKong

      The Silent Plague of Elderly Asian Mass Shooters in California

      Thanks, will give it a look.

    • DarkPlato

      Yet Another Woke Remake of a Classic

      But it makes you feel sorry for them.  They were meant to run free on the Savannah.  I...

    • Mort

      The Silent Plague of Elderly Asian Mass Shooters in California

      Very interesting, thank you for posting

    • Scott

      Yet Another Woke Remake of a Classic

      Turu the Terrible was a gud boi ─ he dindu nuffin. :-)

    • Mort

      The Silent Plague of Elderly Asian Mass Shooters in California

      Watch Europa: The Last Battle https://archive.org/details/europa_the_last_battle_full  

    • Gene Yamnaya

      Greg Johnson Speaks to Horus the Avenger About Charles Krafft

      I miss him a lot. And... Everything Greg said about libraries is true.  

    • The Antichomsky

      A Woman’s Guide to Identifying Psychopaths, Part 6 The Most Common Jobs for Psychopaths

      If leftists could think, they might conclude that the main role of the police is protecting...

    • Bob Roberts

      The Silent Plague of Elderly Asian Mass Shooters in California

      Agreed, there may have been an issue where the gun snapped. We need more stringent gun control...

  • Book Authors

    • Alain de Benoist
    • Anthony M. Ludovici
    • Beau Albrecht
    • Buttercup Dew
    • Charles Krafft
    • Christopher Pankhurst
    • Collin Cleary
    • F. Roger Devlin
    • Fenek Solère
    • Francis Parker Yockey
    • Greg Johnson
    • Gregory Hood
    • H. L. Mencken
    • Irmin Vinson
    • J. A. Nicholl
    • James J. O’Meara
    • Jef Costello
    • Jim Goad
    • Jonathan Bowden
    • Juleigh Howard-Hobson
    • Julius Evola
    • Kerry Bolton
    • Leo Yankevich
    • Michael Polignano
    • Multiple authors
    • Savitri Devi
    • Spencer J. Quinn
    • Tito Perdue
    • Trevor Lynch
  • Webzine Authors

    Contemporary authors

    • Howe Abbott-Hiss
    • Beau Albrecht
    • Aquilonius
    • Anthony Bavaria
    • Michael Bell
    • Alain de Benoist
    • Kerry Bolton
    • Jonathan Bowden
    • Buttercup Dew
    • Collin Cleary
    • Giles Corey
    • Jef Costello
    • Morris V. de Camp
    • F. Roger Devlin
    • Bain Dewitt
    • Jack Donovan
    • Ricardo Duchesne
    • Émile Durand
    • Guillaume Durocher
    • Mark Dyal
    • Guillaume Faye
    • Stephen Paul Foster
    • Fullmoon Ancestry
    • Jim Goad
    • Tom Goodrich
    • Alex Graham
    • Mark Gullick
    • Andrew Hamilton
    • Robert Hampton
    • Huntley Haverstock
    • Derek Hawthorne
    • Gregory Hood
    • Juleigh Howard-Hobson
    • Richard Houck
    • Alexander Jacob
    • Nicholas R. Jeelvy
    • Greg Johnson
    • Ruuben Kaalep
    • Tobias Langdon
    • Julian Langness
    • Travis LeBlanc
    • Patrick Le Brun
    • Trevor Lynch
    • Kevin MacDonald
    • G. A. Malvicini
    • John Michael McCloughlin
    • Margot Metroland
    • Millennial Woes
    • John Morgan
    • James J. O'Meara
    • Michael O'Meara
    • Christopher Pankhurst
    • Michael Polignano
    • J. J. Przybylski
    • Spencer J. Quinn
    • Quintilian
    • Edouard Rix
    • C. B. Robertson
    • C. F. Robinson
    • Hervé Ryssen
    • Kathryn S.
    • Alan Smithee
    • Fenek Solère
    • Ann Sterzinger
    • Thomas Steuben
    • Robert Steuckers
    • Tomislav Sunić
    • Donald Thoresen
    • Marian Van Court
    • Dominique Venner
    • Irmin Vinson
    • Michael Walker
    • Aylmer Wedgwood
    • Scott Weisswald
    • Leo Yankevich

    Classic Authors

    • Maurice Bardèche
    • Julius Evola
    • Ernst Jünger
    • D. H. Lawrence
    • Charles Lindbergh
    • Jack London
    • H. P. Lovecraft
    • Anthony M. Ludovici
    • Sir Oswald Mosley
    • National Vanguard
    • Friedrich Nietzsche
    • Revilo Oliver
    • William Pierce
    • Ezra Pound
    • Saint-Loup
    • Savitri Devi
    • Carl Schmitt
    • Miguel Serrano
    • Oswald Spengler
    • P. R. Stephensen
    • Jean Thiriart
    • John Tyndall
    • Francis Parker Yockey
  • Departments

    • Book Reviews
    • Movie Reviews
    • TV Reviews
    • Music Reviews
    • Art Criticism
    • Graphic Novels & Comics
    • Video Game Reviews
    • Fiction
    • Poems
    • Interviews
    • Videos
    • English Translations
    • Other Languages
      • Arabic
      • Bulgarian
      • Croatian
      • Czech
      • Danish
      • Dutch
      • Estonian
      • Finnish
      • French
      • German
      • Greek
      • Hungarian
      • Italian
      • Lithuanian
      • Norwegian
      • Polish
      • Portuguese
      • Romanian
      • Russian
      • Slovak
      • Spanish
      • Swedish
      • Ukrainian
    • Commemorations
    • Why We Write
  • Archives
  • Top 100 Commenters
Sponsored Links
Above Time Coffee Antelope Hill Publishing Paul Waggener IHR-Store Asatru Folk Assembly Breakey Imperium Press American Renaissance The Patrick Ryan Show Jim Goad The Occidental Observer
Editor-in-Chief
Greg Johnson
Books for sale
  • El Manifiesto Nacionalista Blanco
  • An Artist of the Right
  • Ernst Jünger
  • Reuben
  • The Partisan
  • Trevor Lynch’s Classics of Right-Wing Cinema
  • The Enemy of Europe
  • Imperium
  • Reactionary Modernism
  • Manifesto del Nazionalismo Bianco
  • O Manifesto Nacionalista Branco
  • Vade Mecum
  • Whiteness: The Original Sin
  • Space Vixen Trek Episode 17: Tomorrow the Stars
  • The Year America Died
  • Passing the Buck
  • Mysticism After Modernism
  • Gold in the Furnace
  • Defiance
  • Forever & Ever
  • Wagner’s Ring & the Germanic Tradition
  • Resistance
  • Materials for All Future Historians
  • Love Song of the Australopiths
  • White Identity Politics
  • Here’s the Thing
  • Trevor Lynch: Part Four of the Trilogy
  • Graduate School with Heidegger
  • It’s Okay to Be White
  • The World in Flames
  • The White Nationalist Manifesto
  • From Plato to Postmodernism
  • The Gizmo
  • Return of the Son of Trevor Lynch’s CENSORED Guide to the Movies
  • Toward a New Nationalism
  • The Smut Book
  • The Alternative Right
  • My Nationalist Pony
  • Dark Right: Batman Viewed From the Right
  • The Philatelist
  • Confessions of an Anti-Feminist
  • East and West
  • Though We Be Dead, Yet Our Day Will Come
  • White Like You
  • Numinous Machines
  • Venus and Her Thugs
  • Cynosura
  • North American New Right, vol. 2
  • You Asked For It
  • More Artists of the Right
  • Extremists: Studies in Metapolitics
  • The Homo & the Negro
  • Rising
  • The Importance of James Bond
  • In Defense of Prejudice
  • Confessions of a Reluctant Hater (2nd ed.)
  • The Hypocrisies of Heaven
  • Waking Up from the American Dream
  • Green Nazis in Space!
  • Truth, Justice, and a Nice White Country
  • Heidegger in Chicago
  • End of an Era: Mad Men & the Ordeal of Civility
  • Sexual Utopia in Power
  • What is a Rune? & Other Essays
  • Son of Trevor Lynch’s White Nationalist Guide to the Movies
  • The Lightning & the Sun
  • The Eldritch Evola
  • Western Civilization Bites Back
  • New Right vs. Old Right
  • Journey Late at Night: Poems and Translations
  • The Non-Hindu Indians & Indian Unity
  • I do not belong to the Baader-Meinhof Group
  • Pulp Fascism
  • The Lost Philosopher
  • Trevor Lynch’s A White Nationalist Guide to the Movies
  • And Time Rolls On
  • Artists of the Right: Resisting Decadence
  • North American New Right, Vol. 1
  • Some Thoughts on Hitler
  • Tikkun Olam and Other Poems
  • Summoning the Gods
  • Taking Our Own Side
  • Reuben
  • The Node
  • The New Austerities
  • Morning Crafts
  • The Passing of a Profit & Other Forgotten Stories
Copyright © 2023 Counter-Currents Publishing, Ltd.

Paywall Access





Please enter your email address. You will receive mail with link to set new password.

Edit your comment