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Fleeing Gomorrah

Recently Greg Johnson of Counter-Currents published still another apologia of rock, this one written under the pen of James J. O’Meara (who must never be confused with Michael O’Meara, whose essays I’ve been republishing recently). Obviously this not only corroborates that Johnson likes rock, but that he believes that this sort of music is, or could be, healthy inspiration for white nationalists (the same happened to Kevin Alfred Strom; cf. my previous entry).

Nothing can be farthest from the truth! As I said in recent posts (here, here and here), together with sexual mores music is the most obvious acid test to see whether someone subscribes the decadent culture that has been killing whites since the Second World War. In the case of sexual mores, this claim can be demonstrated objectively (I’ll soon be reproducing shorter, more readable excerpts of Roger Devlin’s work rather than those long articles). Unfortunately, in the case of music this can only be appreciated subjectively.

For every être supérieur virtually all rock is trash, and the fact that some of the most sophisticated nationalists promote this decadent music has moved me, now definitively, to part ways from those who object that whites are committing cultural suicide, blaming instead the Jews for all our problems. For one thing: pop music for mass consumption can only degrade our souls, and the fact that white nationalists, the vanguard to defend their race, promote this trash can only mean that even whites conscious of the Jewish Question are committing cultural suicide.

Together with the 9/11 conspiratorial myths that they embrace, the nationalists’ musical tastes demonstrate that their degenerate cities badly need to be purified under Heaven’s fire. Biblical wrath is good for white sinners (cf. Michael O’Meara’s essay that I reproduced yesterday, which I rebaptized as “Most Americans will have trouble feeding themselves”). If my interpretation of the human soul is correct, musically and sexually the uncontaminated nationalist—does that entity exist?—should feel utterly alienated in today’s culture. Conversely, by liking and promoting heavy rock and black metal nationalists are part of the suicidal culture that I call Gomorrah. This is my open letter to white nationalists:

Who among you feels extreme loathsomeness, Jeremiah-like abomination toward the pop music composed after the 1950s for mass-market consumption? Who feels like Lot in Gomorrah? Am I alone fleeing the city with my two daughters?

29 replies on “Fleeing Gomorrah”

My take on this: now, more than ever, both here and in Europe, we need to come to some sort of agreeable modus vivendi in regard to this and many other cultural issues.

My off the cuff solution: advance the cause of WN without reference to any specific religion (or lack thereof), style of music, physical appearance, socio-economic group, etc. Focus strictly on the preservation and restoration of white nations. If this tactic does not/cannot work, then a National Conference of WN thinkers and supporters should be convened, in order to air these conflicts.

I can tolerate rock only in the sense that Hitler tolerated homosexuality among his storm troopers to get power. The trouble is that we are not in the political stage yet. In the meta-political stage we can—and must—say where we stand.

By the way, is James O’Meara the same guy who vehemently defended homosexuality at The Occidental Observer a couple of months ago? I mention this because, following the Third Reich example, Hitler tolerated Ernst Rohm and his pals as long as he did not advertise his “sexual preferences” as something good for racial preservation. Another story would be if Rohm organized a gay parade in 1933 Berlin!

Do you get my point? What amazes me is that WNists cannot see that by promoting this filthy music they’re doing the musical equivalent of a “gay parade for nationalists”. Why don’t they keep their music perversions in their closets?

They don’t keep them in their proper place because they cannot see that that sort of music is rotten to the core.

They’ve lived in Gomorrah for decades.

The city has contaminated their mortal minds.

They feel that such “music preferences” are as normal as Neanderthalesque males walking hand to hand in Amsterdam. Thanks God that the Muslims are forbidding both: open faggotry and pop Western music! Perhaps that’s what we need: the Islamization of Gomorrahean Europe!

Music is but the external manifestation of a Platonic idea or state of mind within the inward self. If the self is healthy, music will be healthy too (watch the dancing in Austen’s times in the video below).

My prediction: if the ethnostate is formed, after sexual mores are forcibly reverted back to a Jane Austen-like world rock and rock-derivatives will disappear simply because that filth is the outward expression of the decadent psychic wavelength most whites have been tuned up, since their childhood, in the current Zeitgeist. (My parents may have been pretty abusive against the teen I was, but at least they didn’t allow that the Gomorrahean geist corrupted my soul when I was a little boy.)



I’ve been reading the comments on the latest CC “music” essay and I’m appalled at what passes for aesthetics today within the realm of music. Iow, WNs are cultural know-nothings and uglies.

[Just for the record, the above reply is a reply to my comment that includes a clip of the Pride and Prejudice film. Threaded replies are still possible by clicking on the “reply” button before the third indented reply.]

Henry Ford’s chapter on Tin Pan Alley in The International Jew is required reading. Jewish music has been corrupting Western culture for longer than most WNs know.

Whilst your and Iranian for Aryan’s stance is a good counterpoint to and prodding of the WN mind (for instance I do intend to go to my library and select the music recommended) I think you are taking this too far Chechar.

…has moved me, now definitively, to part ways from those who object that whites are committing cultural suicide… Your determination of the only valid form of musical expression comes from an extreme bias, it seems to me, that does not incorporate reality but is rather founded on a fictitious ideal.

Example: If the self is healthy, music will be healthy too (watch the dancing in Austen’s times in the video below). If this is true, then the world of Austen must have been healthy, since you find the music of Austen’s time healthy.

Yet you know that the Britain of Austen’s time had such a disastrous social and economic policy for her own people that it led to overcrowding of her gaols, so much so that the population had to be stored in prison hulks in her harbours. All the whiles the gentry played and danced to their healthy tunes while the scum starved in debtor’s prison, or were then sent out in prison ships to found new lands.

I mean this in a nice way Chechar, but your notions of Whiteness, founded as they are in Jane Austen, are deluded. It should come as no surprise that the people who go to the Opera House in Sydney, which my taxes support even though I am no where near wealthy enough to make a visit to the Sydney Opera House a regular occurrence, are the very same people who despise White people. These are the very same people who inhabit and own the govt radio stations and television, who have a visible contempt for ordinary White people. Yet you say that the music is a manifestation of their healthiness, so I am to conclude then that they must be the healthy ones and I the sick.

Talk about Gomorrah? I bet you’d be hard pressed to find one White Nationalist amongst the cognoscenti that inhabit the Sydney Opera House.

So, you make too much of this Chechar, in that you want to divide yourself from this part of the WNist movement (what little there is) and furthermore your reasoning is flawed.

Off topic, is this guy, Cameron, whose insults I’ve just deleted (“Chechar’s back in the USSR: You can shove your worshiping our White women up your arse faggot. You’re not one of us you fucking wog and you never will be. Try harder”) the same featured writer in your blog?

Independently of his insults, would you consider someone like me “not one of us” because I look like a Mediterranean, not a Nordic?

Forget for a moment what I said about music. I’d be interested in a sincere, direct response to this question coming from you: even if I don’t like what you say.

Hmmmm, Yes, Cameron is my co-blogger. He was drunk last night, not knowing at all his movements I’d say you copped the end of it.

I’m sorry Chechar that you were insulted, though of course I have nothing whatsoever to do with it.

My own attitude to the whole Nordic purity thing I have expressed many times recently here On Whites & Jews. As stated:

“If White Nationalists want to get the genetic test kit out to determine who is and isn’t White then I think they will undermine their cause, for their cause is not *purely* racial, it is cultural and religious. It is civilisational. Even good guys like Olave trundle down this path of genetic identity, which is useful, scientific and valuable but missing the larger picture. Jews know who Jews are and their highest priority is Jews.

Like so we can and should do so for Whites. We should bring all our various ethnicities under the one broad banner of White and ask ourselves always: “Is it good for Whites?”

In short, to answer your question Chechar, yes I do consider you one of us, of course I do.

As socially detrimental as the cognoscenti are, and the Austenites might have been, neither changes the fact of the lovely and healthy music they listen/listened to.

During Austen’s time, both debtors and the landed gentry would have hummed a Haydn symphony or a Donizetti aria.

A resurgent West will not brook rock “music”.

I wish you well on your journey discovering Western music.

IFA, I am not deriding that music, I am saying that to define only that music as “healthy” and all others as sick is unreasonable and anti-national.

For instance Chechar also derided Celtic folk music as being sick. Which is to say that the bodhrán is sick, or that the uilleann pipes are a sick instrument. Yet both are associated with national love, national resurgence.

I can understand that this music is not to Chechar’s liking or taste but to equate it with national sickness is absurd, as history attests.

Again, I mean this well, as a critique, not a criticism in the negative of Chechar.

@ “For instance Chechar also derided Celtic folk music as being sick.”

No, I didn’t. I said that that music sounds silly to my ears, but in no way sick. On the contrary: Celtic folk music can inspire the common nationalist.

What I do find obviously sick is “music” that damages the hearing of the youngsters, and presently most rock concerts and discos use music to truly deafening levels for our sense of hearing (in addition to its sickening quality, independently of the quantity of decibels).


Western music and various folk music and folk instruments are both healthy and desirable. However, when one delves into rock, I must stick to my guns, as it’s a Jewish-Negro artifice.

Btw, I am not such a buffoon that I don’t have classical music in my music collection. One of my joyous memories of my children is driving in the car listening to Mozart, particularly Turkish March, and us all air playing violins and imagining how they must have danced when this was first presented.

Well I took your comments about Covington’s music in the negative. Those rebel songs were and are the definition of national music, they were the war songs of national unity, comfort and fight back.

If you listen to Wearing of the Green/Rising of the Moon you will hear that, or Rifles of the IRA you will hear that. You can also compare the original Go On Home British Soldier, laden with profanity as “Have you got no fucking homes of your own.” The profanity may not be Austen, but it fucken well served our people well, if you can see what I mean?

I agree with much of what you say re Rock music. One of my brothers suffered hearing damage after a Kiss concert in his late teens.

I have wondered myself how Alice Cooper can accommodate his music, lyrics and themes especially now that he is a “born-again” Christian. I went to one of his concerts a few years back and it struck me that, even though he thinks it is ironic, much of his younger audience didn’t get the irony and were reveling in the black anti-life, soul destroying themes of his music.

I think this is a good and worthy discussion IFA and Chechar.

Yes, Pat: it’s an important discussion.

Re Covington. I have listened to every one of his podcasts and as soon as I can handle an Audio software I’ll be uploading here his most electrifying speeches.

I confess, however, that I have to lower the volume every time that I listen to his music breaks. But I do that to every single TV and radio program I happen to listen. Did Covington read our comments at Counter Currents, which originated this thread? In his November 24 podcast he seemed to react to what I had written about music. I feel kind of bad but I know other fans of classical react in similar ways when confronted to the sort of music with which the media invades our minds 24 hours a day.

This said, I am not against folk music. As I said my father promotes folk music for his Latin American pupils about which, I must say, I like only a tiny fraction of it in spite of the fact that I was born in the same country of my dad’s.

Such is the paradox of amalgamating one’s mind to classical music. Even some of my father’s original folk compositions for children sound too silly to me when I compare them with his compositions for orchestra, camera or piano.

Well, you may be heartened to know that I have just now put on Händel’s Messiah, Hallelujah Chorus for the kids as they build the Christmas tree. Any other thematic recommendations would be appreciated 🙂

And you will be surprised to know that I rarely listen classical music (or any sort of music). For relaxing while driving in this ugly metropolis it’s OK but a serious listening of classical music requires a special form of concentration to “understand” it. At the beginning it’s not easy, especially religious music (yesterday I had to lower the volume of Brahms’ Requiem as far as I could because I needed concentration in my writing). Once you “get it” it will form part of your soul forever.

I know what you mean Chechar. I do like to listen to classical when I’m working though I haven’t done it for some time. When driving I listen to ABC Classic FM to take me out of the traffic and elsewhere.

There was a time a couple years ago where our national broadcaster the ABC published a series of classical CDs like Brahms for Bedtime, Vivaldi for Valentines, Mozart for Midnight etc which my mrs bought. They are a good introduction especially given their thematic appeal to moods.

Here’s a suggestion which I like Chechar: maybe as a post compile a Chechar for Nationalism with a listing of nationalism inspiring classical compositions.

Also, you may be interested in this great, relatively unknown and under rated Australian, R J Stove.

There’s some great essays there as well as on your theme of classical. Robert Stove himself is a composer though I am not at all familiar with his music.

I like your idea of music that speaks to the soul.

When you reply to my question in my comment [way above], please try not to think about our differences about music.

“Fix the soul”. I’d say that fixing a culture obsessed with sex that lets posting sexy photos of seminude woman—again, the authors in M4 Monologue—is part of the healing process. I agree that 18th century England is no paradigm of ultimate decency. The clip I posted was only an idealization of the Austen world. My ideal: if the Northwest Republic is formed the mores would be, in the future, similar to what we see in idealized films about Austen’s novels. In other words, I agree with you that even those who like classical music are behaving traitorously in other spheres of life.

But I am too distressed for the moment to continue to argue these issues. Please reply to my above question—and also you all, visitors of this thread (except the insulters) who have already formed an opinion on this question. Honesty would be appreciated.

Chechar, again I apologise for the insults you have received, though they aren’t mine to apologise.

You make a salient point with regard “posting sexy photos of seminude woman—again, the authors in M4 Monologue”. It is something I am conflicted on, though you will note that it is a rare occurrence these days now that the blog has returned to mostly myself posting. You could add the profanity to your list, something I do engage.

You may or may not be surprised to know how much those “sexy photos” drag in hits. I stopped blogging for a while when I realised that a one off photo of Dita Von Teese was still getting phenomenal hits, whilst what I thought were good posts getting under 100 or thereabouts.

There is some irony and style issues with my writing which I won’t bore you with, but I agree about the nudity/porn culture – something which I have been critical amongst other things re. News Ltd which is a pseudo conservative media mouthpiece that damages our people’s psyche.

Perhaps my Catholicism has bred in me the belief that none of this matters, nudity, porn, music etc, what’s done is done and people are never damned but always offered the chance to rise above their past. That work was made for man not man for work, and so music, art, etc should be in the service of man and not vice versa. That to me is how these things should be judged.

If the music is enslaving people then let it go. If it is bringing them to God – which is nation and fraternity – then it is good.

@ “Any other thematic recommendations would be appreciated”

IMHO the best way to introduce children to classical music is through Disney’s films like Fantasia and Sleeping Beauty.

Sleeping Beauty is Disney’s absolute gem, both musically and pictorially. The composers of Disney’s studio magnificently adapted some passages of Tchaikovsky’s ballet for the soundtrack. I really recommend these two films as an introduction to classical music.

When your kids are more prepared to listen music by itself, you still can use Tchaikovsky, for example the Nutcracker Suite (which incidentally Disney also used in Fantasia). Fantasia also featured famous pieces such as Toccata and Fugue in D Minor, The Sorcerer’s Apprentice, and The Pastoral Symphony that, once the child or young adult can enjoy music without the accompanying image, these pieces can be listened by themselves. The film also featured The Rite of Spring but this is, of course, more complex to understand.

Thanks for that Chechar. We have fantasia on DVD which I saw as a boy at the cinema. I remember Night on Bear Mountain or something like that. And also The Capulets – I think – something about Romeo and Juliet.

I’ll get that list for their ipods.

Dear Chechar,

I would like to publicly apologise for the torrent of abuse I directed at you last night. I wont use my drunken state as an excuse but it does go some way to explaining my actions but definitely does not excuse them.

Though I don’t agree with you on many points I believe you are one of the bravest writers on the far-Right.

My sincerest apologies,

Cameron Galway.

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