Van Morrison
1,600 words
The new groups are not concerned
With what there is to be learned.
They got Burton suits. Ha!
You think it’s funny?
Turning rebellion into money. — The Clash, “White Man in Hammersmith Palais”
Is it not wonderful to see Britain still shining as a beacon of youthful rock ‘n’ roll rebellion, with bands telling it like it is and generally sticking it to The Man? Oh, wait. My mistake. I was thinking of 1979. (more…)
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Is Billie Eilish’s new Bond song, “No Time to Die,” the worst Bond song ever? Close. But sadly, there is a lot of competition for that title. Here is my ranking, from best to worst.
Note: Not every Bond theme is a Bond song. Doctor No and On Her Majesty’s Secret Service have instrumental themes. Beyond that, many Bond movies contain non-theme songs that are, nevertheless, strongly associated with the films. I will discuss two of them here. (more…)
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To listen in a player, click here. To download the mp3, right-click here and choose “save link as” or “save target as.”
Greg Johnson talks to Morgoth of Morgoth’s Review on the web, Bitchute, and YouTube about White Nationalist culture jamming, the Eternal Anglo vs. Tolkienism, Arts & Crafts, and Aestheticism, Roger Scruton, whiteness in classical and pop music, the 2019 UK General Election, (more…)
Björk
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Björk’s music is full of range and dimension. This is true both in the sense of her voice, which sweeps across octaves with equal helpings of elegance and coarseness, but also in her varied inflection and choice of songwriting material. One could plot her music on a chart with two poles that span innocence and seductiveness, alongside harmony and discordance, and find that she dances around in all four quadrants (more…)
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In order to fully understand the importance of this year’s Asgardsrei festival, one must understand the impact that the Blazebirth Hall scene, and in particular, its most prolific artist, Kaldrad, had on both NSBM (National Socialist Black Metal) and the overall sound of Eastern European black metal.
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Like a lot of people in Generation X, I grew up on rock music, especially classic rock. I still love the stuff. Despite this, I predict that most classic rock will prove increasingly irrelevant to the Dissident Right as we tilt our spears deeper into the twenty-first century. But isn’t this a little counter-intuitive? (more…)
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Kanye West broke his ten-month silence on Twitter with a square photo of an indigo record, captioned “‘JESUS IS KING’ OCT 25TH” in an apparent announcement of his long-anticipated studio album. West has made multiple claims about an album release in the past, but none of them have come to fruition, leading many to speculate that this record will not materialize as well.
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I could have happily lived the rest of my life without seeing any of the now four versions of A Star Is Born (1937, 1954, 1976, 2018). But on a long flight, I decided on a whim to watch the latest version, starring Bradley Cooper and Lady Gaga. I like Bradley Cooper as an actor, and this is also his directorial debut. I was also curious about Lady Gaga, whom I had never actually heard. (Can I refer to her as “Gaga” for short?) (more…)
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Daft Punk’s Electroma is a 2007 science fiction drama written and directed by the famous electronic house music duo, Daft Punk (Guy-Manuel de Homem-Christo and Thomas Bangalter), who wear iconic robot outfits as part of their act. Daft Punk formed in 1993 and found success through their 1997 debut album Homework, 2001’s Discovery, and the critically mixed 2005 Human After All. Electroma, released in 2006, is an elaboration on Human After All‘s themes of technology and personal authenticity. (more…)
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“I straighten up, and my position is one of hope. The march backwards is over, and life has begun again.” — Morrissey
A couple weeks ago, I wrote an article about the iconic ex-Smiths singer and champion of the white race Morrissey and his drift to the Right and support of Anne-Marie Waters and her party For Britain. (more…)
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One of the most satisfying aspects of Morrissey’s recent drift into the populist nativist Right is the absolute butthurt from his shitlib fans. It’s glorious. They feel so betrayed. (more…)
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The Monolith Deathcult are a three-piece extreme Death Metal band formed and led by Dutch high-school history teacher, Michiel Dekker. TMDC is a one-band musical vanguard for the coming inevitable National Populist cultural explosion of the European New Right. (more…)
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Christmas is a time of hope and good cheer, and nothing has lifted my spirits more than a recent article in Billboard entitled “’Baby, It’s Cold Outside’ Heats Up On Charts After Lyrics Controversy.” (more…)
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Three years after its premiere, Lin-Manuel Miranda’s Hamilton is still running and is currently on its second national tour. The hip-hop, racially diverse reimagining of the life of Alexander Hamilton has been the object of nauseatingly fulsome praise since its premiere and has been zealously promoted by the mainstream media. (more…)
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When defenders of multiracialism, most often referred to euphemistically as multiculturalism, bring up the benefits of diversity, one of the things that tops the list is music. And within that category, jazz is most often mentioned because it is unquestionably an art form that would not have developed without the mingling of races in America. It cannot be contested by any objective historian that white, black, and Jewish musicians (and, to a far lesser extent, musicians of other races) made important contributions to the music. (more…)
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Check out three recent Greg Johnson appearances on YouTube:
With Carolyn Emerick on why cultivating civil disagreement is essential to a metapolitical movement
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‘I never felt magic crazy as this
I never saw moons knew the meaning of the sea
But now you’re here
Brighten my northern sky’
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Soul music is said to be the preserve of the Negro, yet the later soul music of the Negro was not the preserve of the Negro, for it very often relied on Jewish production under the likes of Syd Nathan, Ralph Bass, Jerry Wexler, Jerry Leiber and Mike Stoller, and on White classical tradition and instrumentation for its orchestral arrangements. (more…)
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On Saturday February 3rd, in the company of a few friends, I attended Wardruna’s concert in New York City. This was not my first introduction to them: I’ve been using their albums as workout music for months. In case you do not know, Wardruna is a Norwegian “Nordic folk” band who have recorded three albums, and become quite popular in the politically-ambiguous “neo-heathen” scene in Europe and America. (more…)
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I recently purchased Alex Chilton’s Baton Rouge 1985 which had been released by Klondike Records late last year. Most readers, if familiar with Chilton at all, know him as the teenage leader of the Box Tops, whose 1967 hit “The Letter” rocketed them to international fame, or as the primary songwriter behind the proto-indie rock band Big Star. (more…)
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Part 3 of 3. Part 1 here. Part 2 here.
‘Now We Rise and We Are Everywhere’ — Nick Drake (1948-1974)
And having now evoked the legend of King Arthur, Merlin, Excalibur, and the Holy Grail, I can clearly recall driving one autumn morning down the A39 as it snaked its way through the Mendip hills. The Somerset Levels cloaked in thick fog with just the Tor floating above the ancient town of Glastonbury. (more…)
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Taylor Swift’s latest album, reputation, came out on November 10th. She has become an iconic figure for the Alt Right in recent years, so a review seems appropriate. We must tread lightly because Ms. Swift has recently been flashing her litigious claws (clause?). (more…)
Giuseppe Verdi in Golden Gate park, San Francisco
1,651 words
George Martin
Verdi at the Golden Gate: Opera and San Francisco in the Gold Rush Years
Berkeley: University of California Press, 1993
George Martin is an independent historian who has written a number of books about the history of opera (including a great biography of Verdi). His account of how opera and in particular Verdi’s operas rose to prominence in San Francisco during the Gold Rush years describes a fascinating but not widely known episode in the history of the American West. (more…)
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After listening to Greg Johnson’s recent conversation with Rob Kievsky entitled “Leveraging Social Decline,” in particular, the part of it in which they discuss parenting, I (being a parent) felt the need to weigh in. Around the 47-minute mark, the two got into a friendly dispute over the best way to be a parent. In reality, I think both were presenting sides that seemed antithetical but really weren’t because they were each addressing different problems with their arguments. (more…)
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“There’s a feeling I get when I look to the West.”–“Stairway to Heaven,” Led Zeppelin IV
It was with the advent of Frenchman Jean-Jacques Rousseau’s Emile (1762) that a direct link was first made between national culture and the simplicity of peasant life. (more…)
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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. (more…)
Leonard Cohen
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My first encounter with a Leonard Cohen song was in October of 1982. I had invited a Polish exchange student to a party in my fraternity house room. He came with an acoustic guitar and played and sang Cohen’s “Suzanne,” a song from the 1967 album Songs of Leonard Cohen. It was my third year at Alliance College. I was struck by the sublime beauty of the song. (more…)
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When David Cameron coined the phrase “muscular liberalism” years ago, I like to imagine that he was thinking of Henry Rollins, who has long embodied a thoroughly peculiar combination of party-line leftism and masculine aggression. Rollins went from being the lead singer of Black Flag, to fronting his own Rollins Band in the ’90s, to being a successful indie author and owner of his own small publishing company, to being a film and television actor and now a regular columnist for L.A. Weekly. (more…)
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Steve Sailer recently compared the Alt-Right to punk rock. It’s an apt analogy in more ways than one, and as someone whose adolescence was informed by that music, it’s one that I readily appreciated. I’ve long thought of writing an essay about the implicit whiteness of punk and hardcore music, especially since it’s a rather under-appreciated genre on the AltRight. (more…)
