I have told to myself in hundreds of soliloquies that white nationalists just cannot have it both ways. They cannot love pop music (which must not be confused with the legitimate folkloric music of the diverse western nations) and classical music at the same time. I have told myself in hundreds of self-conversations that that is like, say, for Captain Georg von Trapp trying to raise a traditional family while, at the same time, indulging himself in secret escapades to gay clubs (something that, of course, never happened in either the 1959 musical or the famous 1965 film, The Sound of Music).
The following are excerpts of some of the recent posts by a blogger known as Roger at Iranian for Aryans’ blogsite. (Warning: James O’Meara must never be confused with another contributor of Counter-Currents Publishing, Michael O’Meara).
Iranian for Aryans said:
It is with much felicity that I welcome Roger to this website. He has commented, in both a virile and eloquent manner, on this site with a sure knowledge of Western music. Perhaps more importantly, he has shown a dogmatic aversion to that which parades—and is paraded—as Western music (e.g., rock, hard rock, heavy metal, et al) in White Nationalist circles.
My wish is to provide a niche here, on this website, for those who are appalled, aghast, and disgusted by the asininity, vacuity, loathsomeness, and degeneracy of that which is promoted as a current and past manifestation of Western Culture by the ignoramuses of the “Right Wing”.
Thus, prepare yourselves for a hateful passion (!) towards all ugly music that has corrupted, and continues to corrupt, Western peoples and is promoted by the know-nothings of the “(bowel) movement” as part of “real” Western heritage.
Roger said…
[James] O’Meara seems to have two primary objectives: to promote homosexuality and to promote degenerate music, both under the banner of “traditionalism”. These are the two recurring leitmotifs in his articles. Greg Johnson and Michael Polignano are evidently sympathetic to his crusade, or else they would not have published a compendium of his articles in book form. That aside, here is a slight elaboration of the earlier points […].
Then we have his false claim that Berg and Webern were Jews. Dodecaphonic serialism was invented by a Jew, but serious websites should not be pretending that the Second Viennese School was a wholly Jewish affair. It wasn’t. The collaboration of goyim should not be glossed over; instead, the enthusiasm of Berg and Webern for Schoenberg’s new music should be emphasised, because it is similar to the promotion of degenerate music by some white nationalists.
Far from being a great critic of the Viennese serialists, O’Meara shares their active scorn for the “bourgeois” Western tradition and seeks an alternative to it. He thinks himself clever for criticising the twelve-tone tuning system, but he does not provide us with any convincing reason to oppose it, nor does he justify his assertion that “the possibilities of expression are defective” in the Western tonal system (this assertion is self-evidently fatuous to anyone with a rudimentary knowledge of the Western canon). I’m not sure what it is that separates his ideal world of “pitiless hordes of adolescent warriors in rainbow thongs” from the grotty cabarets of the Weimar Republic.
If he cannot get basic facts straight, he should not be pontificating to us about music—especially if the primary source of his diatribe against Western music is Alain Daniélou, a homosexual who rejected Western civilisation in favour of Indian Hinduism.
O’Meara would know all about that, being a homosexual himself. If this is what the “New Right” is all about, give me the Old Right!
37 replies on ““Give me the Old Right!””
Neither James O’Meara nor Greg Johnson have tried to rebut what I said in the piece I wrote a year ago, “Gitone’s magic”, about the gulf between classic pederasty and the outright degenerate, modern “gay” movement.
Similarly, at Counter-Currents, Greg does not allow Iranian for Aryans to rebut what James claims about music.
In my opinion James’ articles and views about homosexualism and music, in addition to his hatred for traditional family, are toxic for the pro-white movement.
What do you think my dear readers?
You know what I think.
Ditto….
I agree with you, but I would not worry about homosexuals gaining ascendancy within WN with explicit anti-family rhetoric or a queer cultural agenda simply because they lack an audience. Gay WNs are valued in spite of their sexual orientation and no one in the movement, outside of themselves, celebrates queerness.
I would be more concerned about their stance on the military and ‘Don’t Ask, Don’t Tell’, which I have yet to hear. If I were in a battalion, I’d rather fight, eat, sleep on the ground, and shower next to a Negro than an openly gay white soldier.
I concur. James O’Meara is a jazzy modernist. His views are ridiculous. The “North American New Right” is another smelly flatulence amounting to nothing…with homosexuality thrown in.
IFA
http://www.iranianforaryans.com
PS – I’m looking for contributors to my site who are culturally savvy a la Roger above.
The real real tragedy for what you look for is precisely paradigmatic in sites like CC. But the CC disease is endemic not only in WN circles but everywhere.
My father as you know is a composer of classical music (the next month one of his symphonic opuses with 150 choral voices will be played again in Mexico City; a cantata originally premiered in 1965). My brother is also a professional musician. He studied conduction of orchestras at Paris but, incredibly, he incarnates a sort of what I tried to say with my Gedankenexperiment above about an imaginary captain’s double live.
In Paris my hetero bro—whom I am biologically attached but is now completely dead for my mind—, in addition to his classical studies, brought cumbias and salsas to the French! (I call it “the music of the Neanderthals”).
If a Day of the Rope ever takes place in Europe, I wouldn’t mind bringing those corruptors of the white race to justice—even when some of them might be biologically related with me. No kidding.
Yes, the degree to which gentiles are complicit in wrecking their own world is astonishing.
Musical knowledge, a complete understanding of music as art, is not usually entirely intuitive. It must transcend simple perception, and is for most people an apperception (in the word’s psychological sense); that is, an integrative process whereby something “new” is formed within our understanding.
With few exceptions rarely do people reach an understanding of high art outside of a special social setting–one that expressly cultivates and honors it. Indeed, the idea of high culture presupposes a thing that can be cultivated, that thing is civilization, and high art is the product of this civilizing force. This is why negro jazz must be suspect, even the best of it, because the negro nature does not possess the potency to either establish or sustain high culture. Negro nature is that of the savage, and its music must exemplify its nature, otherwise it is an inauthentic expression.
At the Counter Currents site, in a recent James O’Meara piece about Richard Wagner, I expanded upon something I believe I once wrote at this site:
“Negro music, at least what is called jazz, is not indigenous to them at all, but exists as a hybrid form based upon a black urban (i.e. Western city) sensibility filtered through the medium of Western instruments (with the possible exception of certain drums which are, apparently, native to the African). Also, the spiritual element in jazz (think John Coltrane-Pharoah Sanders) was not African, either, but an appropriation of Indian-Islamic mysticism. So to even mention jazz as “black” is to rather miss a point.”
In other words, only through the influence of White high culture could any particular negro even begin to create a jazz form. White men must understand jazz for what it is–a hybridization of jungle tribalism misappropriating the fruits of high culture. This can be contrasted with, say, the Chinese Kun opera, which is an indigenous product of a separate non-Western high culture. Because kunqu is indigenous it appears alien to us in a way that hybrid jazz doesn’t because there is no hybridization available to it that can “soften” its appearance to the Western mind. On the other hand, it can nevertheless be appreciated as a product of high civilization in a way that negro jazz cannot.
Finally, when discussing aesthetic sensibility, we must point out that there are different “levels” or types of men (i.e., different natures among different kinds of men, and variations of a single nature within univocal types). This is well described in Plato’s Republic. Plus, there are different levels of aesthetic sensibility. This is well described in Plato’s Symposium. A man that has the potential to rise may do so, especially under proper guidance [this is one of the themes of both Republic and Symposium]. In this regard, those who believe that heavy metal music, or New Age music, et al. represents the spiritual pinnacle of Western aesthetic refinement have either reached their own musical plateau and will not progress, or they require some additional training.
I would say that heavy metal, etc, is nothing but the external (as classical idealist German philosophers would use the word) side of a totally rotten, inner soul. The comparison I try to elaborate in my long meditations can be boiled down to this: Just as secret escapades to grotty, homo cabarets would contaminate the whole dynamics of the captain’s family to the point of endangering its preservation, so the sophisticated nationalists’ “escapades” to heavy metal (Kurtagic, Johnson, and others) contaminates their mind to the point of endangering the preservation of our real traditions.
Kurtagic for one blundered grossly at AltRight by siding the feminists in a debate with true traditionalists, and Johnson blundered too with blind essays that cannot see that films like the recent Batmans and Tarantino’s Fiction are part of the Jewish destruction of the race. (James O’Meara is not even a white nationalist by any stretch of the imagination!)
In other words, you cannot have a few rotten apples in our proverbial barrel (such as destructive music, liking toxic films or promoting homosexualism) and expect that the worms won’t be reproducing and infecting the healthy apples. The result is exactly as having “only” one or two Jews in your pro-white organization.
We certainly need the Old Right.
With art, always ask, what is the point that the artist is trying to make? And what does the work point toward? Every creation points toward something outside itself. Then ask, what is my nature, and what is/are my natural end(s)? The highest art supports the highest ends of man, both individually and socially.
Certainly there are different ends that one must consider. And not all ends are “bad,” just because they are not the highest. But one must discriminate, and one must not confuse low entertainment with high art. This was a theme of Eryximachus’ speech in Symposium.
Certain art has its end as overt political propaganda in support of a particular political party or ideology. This art will never be the highest, but it can still be very high since, as Aristotle taught, the political is natural–that is, of our nature. Good examples are the well known Leni Riefenstahl film The Triumph of the Will, or from another place, the Cultural Revolutionary ballet, Red Detachment of Women.
On the other hand, as you show, art can be orgiastic, a means of satisfying man’s the lower nature, and therefore eventually destructive. In the ’50s certain Christian pastors argued that rock and roll was degenerate, and its listeners risked being influenced by “the Devil.” These unsophisticated but undoubtedly sincere Christians were roundly abused as a standing joke among modern-day “hipster” academic types who laughed at their naïve demonology, perhaps forgetting that greater men than they, Dostoevsky as one, understood possession, and Plato knew well of art’s daemonic power.
Thinking Wagner, many are put off because of Christian themes (re: Parsifal). But if one understands the Grail as representative of a Western spiritual nature, and not necessarily representative of dogmatic church Christianity (which Wagner could never be aligned with), then it is different. We must ask, why do do modern Wagner productions go so far to destroy everything that is visually beautiful? First, these grotesque cretins now called producers have no understanding of Beauty (a lack of knowledge about beauty seems to be a characteristic of modern-day Jewish influenced pseudo-art), and second, their goal is twofold, a) petty self-aggrandizement and b) to carry on the Jewish-American-British inspired anti-German theme at all costs, and these people see Wagner as somehow representative of the Third Reich.
I recently viewed Batman Begins. It was contrived, clichéd, and pretty much what I’d expect from Hollywood. Contrast this with another Bale film, The Flowers of War, where the hero (hero in every sense of the word) is a White man among Chinese! The disgusting anti-White propagandist, Roger Ebert, panned the film because it featured a Western White man.
How anyone with any aesthetic sensibility cannot see what was lost during the last war is beyond me. It should be our duty to recover this lapse of tradition, and not spit on it, or otherwise abandon it. With this in mind, below are two shorts. The first is from pre-War Germany (the soundtrack says 1943, but the scenes are earlier, circa mid to late 1930s), and the second from 1950, after Berlin is in ruins.
https://www.youtube.com/watch?v=Is68_hVOKGs&feature=related
https://www.youtube.com/watch?v=G3346Dq9fXM
All this talk of heavy metal is regressive. What initially attracted me to your site, by the way, was that your taste in art is impeccable.
Thank you for the compliment.
Just for the record, I can understand rock, i.e., grasp what sort of inner feeling it’s describing and even shared some of it when I was younger (e.g., the rock in the film Jesus Christ Superstar). But at the same time I can feel that post-1950s pop music represents externally the general relaxation of mores, especially sexual mores, that have been destroying us (that’s even manifest in that film by a Jew, Norman Jewison). When you are an adolescent in the 1970s you cannot see the potential damage of such music and mores for the future of your culture, even when you loved the film.
But that was not my point. That’s why I said “legitimate folkloric music”, the one that those Greeks probably had in mind. My point is that both low entertainment and high art are ranked positively when gauging psychically what they express. Contemporary popular entertainment on the other hand is thoroughly destructive. (Give me an example of a contemporary Hollywood film and I’ll point out how its message is bad for whites.) The right equivalence would not be low art in the ancient Greek world, but the Roman “art” at the Coliseum in times of, say, Commodus.
White nationalists of sound mind ought to rank this sort of expression of a degenerate soul beneath zero so to speak, in negative terms (as is negative the sort of homosexuality and Hollywood filth advertised at CC).
But they are right of course, even when Satan does not exist.
Remember Paul Ricouer? Using his language I would say that the Christian pastors were right although they used “first naiveté” language to describe degenerate music. You can of course go beyond naiveté and simply say, using Jungian terms, that that sort of music represents the dark side of the Self.
Really dark indeed. My favorite comment by Ward Kendall in this blog:
And now Johnson, Kurtagic and many others are following those steps in the white movement…
Because Johnson, Kurtagic, & Co. are degenerates.
Remember: “Today’s conservatives are tomorrow’s liberals.”
m,
Great insight:
Yes, Cesar’s aesthetic tastes are impressive. Perhaps you would be interested in writing for me, too?
[email protected] (www.iranianforaryans.com)
My point is that both low entertainment and high art are ranked positively when gauging psychically what they express. Contemporary popular entertainment on the other hand is thoroughly destructive… Legit folklore, or lower art as you say, was precisely the sort of music you could listen in real life during the Salzburg Festival…
I am reminded of a story I heard from the negro musician, Sonny Blount, during an interview. Now Blount started out in life more or less mainstream, but wound up as the goofball Sun Ra, proprietor of a pseudo-Egyptian negro jazz band known as the Arkestra. To his credit, Ra had some insight, a sense of humor, knew how to market his shtick, and possessed a work ethic that belied all the weird trappings.
Once the band was booked into “a redneck hillbilly place” (his words if my memory is correct). He claimed that it was “the only place that wanted us to play.” The band was frightened,and didn’t want to go as this was down South, in an earlier era. Sonny got them together and told them, “We’re not going there to play for White People, but White Folk. And folks got folk music, and basic culture. The Folk can appreciate what we are doing better than “the people” who ain’t got no songs whatsoever and can’t appreciate nothing.”
Now, I can appreciate a man like Sonny Blount, because in spite of the weirdness he was honest about his kind. Sonny always stressed discipline, and threw out band members who would not practice diligently, or used drugs/alcohol. He once told an interviewer, while walking down a ghetto street littered with shiftless niggers, that he was tired of hearing about “freedom.” He said the problem with negroes was that they had been given freedom but it had ruined them. What they needed was not freedom at all, but discipline. He was, I believe, a Black Separatist, under the influence of the Nation of Islam. But in his own way he understood that most of his race were “natural slaves” (in the sense of Aristotle’s Politics), and we all know that the end or nature of a slave is to serve a master who will then look after the slave. For Sonny Blount, blacks should master other blacks, but not take orders from Whites. I think the idea was to fight for some sort of black homeland, which to my mind should be the Dark Continent, however the majority of them realize that the last thing they ever want to do is abandon the White man for Mother Africa.
I’ve mentioned Aristotle several times, and I think he may be able to provide a key for the hierarchical understanding of music. In De Anima the philosopher suggests (403 a7-10) that if any attribute of the human composition (i.e., soul and body together) can exist apart from the composition, it is nous, or the thinking function. Of course this brings up the question as to what a mind could possibly contemplate apart from the functions reserved to the mind-body composition (such as perception, imagination, etc.). One answer has been formal archetypes (universals, mathematical principles, geometry, etc.). However another possibility is music, which in its essence is not material at all. Here, the musical form would be transcendent, and certainly not a music that calls forth the body.
Sorry for the rambling, but this thread has been very fascinating for me.
No need to be concerned. The effeminate New Right dilettantes, lead by Dr. Greggie’s Counter-Currents/NANR, implode on themselves. They can go nowhere. They are barely a marginal nuisance, let alone legitimate players.
P.S. to my comment above:
Legit folklore, or lower art as you say, was precisely the sort of music you could listen in real life during the Salzburg Festival (e.g., as in The Sound of Music).
During Haydn’s time, the masses would hum his tunes. Everyone knew Haydn from the street sweeper to the Emperor himself.
We have truly decayed…
I tire of the myth that classical music was never heard outside of aristocratic and bourgeois circles, and that normal working people had nothing to do with it. If that were so, I would love to know how more than 20,000 people ended up attending Beethoven’s funeral. It is patently untrue that it is exclusive and inaccessible. If a hundred random people were taken from a crowd and asked to listen to Elisabeth Schwarzkopf singing ‘Gretchen am Spinnrade’, and then to ‘Cue’ by O’Meara’s beloved Scott Walker, the vast majority of them would have a strong preference for the Schubert lied. It is his avant-garde bowel music that is inaccessible. Pop music only succeeds because it reaffirms the sensualist philosophy of the modern world.
The choral music of the great polyphonic composers would also have been well-known and liked by most people in Catholic Europe. Their music was liturgical. It was performed in churches and cathedrals all across the continent, and it can still be heard on occasion nowadays, in spite of the Second Vatican Council’s relentless attack against beauty. Even in Protestant countries, people would have regularly heard the music of great composers like Purcell, Gibbons, Buxtehude, Mendelssohn, Handel and J. S. Bach. The choir of the Anglican Cathedral in my city can be heard singing traditional choral music every day of the week during choral evensong (the Anglican equivalent of Vespers) — they even sing in Latin from time to time, because Byrd and Tallis are still admired by Anglicans. That few people attend these services is the fault of the liberal churchmen, in my opinion, who worship Mammon instead of God.
Queers like O’Meara hate this, because they know that the high culture of Christendom represents a set of values which are necessarily incompatible with their lifestyle choice. I know this blog is not fond of Christianity, but it is incontrovertible that Western music has a deep link with Christianity in general and Catholicism in particular. It is not surprising that so many pagans want nothing to do with it.
I am honored to see you commenting here.
Of course, and this is something that my Catholic family of musicians is well aware of. The Second Vatican Council was a disaster not only because it marked the end of the Jew-wise stance of the Church, but because, as you say, they betrayed beauty as well (the last Masses I have attended for social purposes display horrendous music even in the most sophisticated chapels of the town where I am presently living).
Like Julian I may have become an apostate but, as you can appreciate, this blog features no less than 34 entries of beautiful Christian paintings.
Earlier than that the same theme was held in America but with more clarity.
Here’s a quote from rationalwiki:-
How right they were!
Pre-1945 martial music I find very worth listening to in that it is healthy for the Aryan spirit. As for WN homosexuals, they should be eradicated, when the day comes. Maybe they could view that as ‘dying for the Cause’…
Homos who are featured in WN blogsites know deep in their heart that they are deceiving themselves and their audience.
Since CC likes National Socialism, you can see also the doublethink insofar as, in real life, NS condemned both homosexuality and a sexualized Männerbund:
“Himmler on homos”
Again, neither Greg nor James have said a word about this later article. Obviously they don’t have anything to say.
Allthough I do agree with much that has been said here above, and i am my self a frantic listener to classical music all day long, especially since nordic values of NS have penetrated my daily life I would like to add the following facts for thought:
In some racial studies, political incorrect, it is stated that negros, inspite of their lower IQ’s, have good memory and a high capacity of geographic memorization. This explains in my view why they excell in music and especially jazz. I am a musicien myself and I can tell from a personal humiliating experience that the knwoledge and memorization of eons of scales and chords is vital to being a virtuoso musician in any style. Blacks like Art Tatum, Gillespie, Ellington and so forth, outperformed whites and could even mimic white classical music into their creations at perfection. I take notice of this and judge it as such : blacks (and unfortunately jews) are higly capable in performing but alos creating music. Off course jews played a major role in promoting degenerative music, and thus had a hand in the explosion of rap and hip hop and the jewblack popmusic we have to listen today today.
But there was a time, in the ’50 ties, were blacks and white could communicate musically at high level and I can even say I have some kind of a nostalgia for this period where and blacks and whites dressed classy, girls were vamps, and both races made technically and creatively great music.
Thus when I see WN’s bashing blacks (and their music) while listening at the most horrific over simplified skinhead nazi rock it is beyond my grasp.
At the same time I think commenters here above concentrate too much on classical music.
One of the reasons blacks inspire the youth is because the have RYTHM. But we also had rythm, not only in western hillbilly but very dense in folk music still subsisting in french Brittany, irish folkmusic and so forth. It is the church that urged out the rythm of music as it was
an expression of the bowel and our sexual organs.
So whites have been repressed and intimidated in the rythm music, letting blacks take the lead and thus dominate popular music.
We can not listen to Beethoven all day, we also need a more basic entree to lighten our daily burden, which is “folk music”. Which has to be reinvented after a total extermination process since the 40’ties.
Metal and neo classical hard rock is also a way of expressing white heritage and commenters here above are totally non competent on the subject. The whole hard rock movement of the early 80 was a white pride (and joy) moment hardly seen elsewhere except for the ’30 im simple opinion. The exploring of Edward Van halen in his eruption solo of the realm of electric guitar, the flamboyant viking like frontmen and the celebration of an all white technology, cars, videos and world supremacy at that time should not be overlooked.
Technically the guitar players of the year 2013 can compete with the paganinis of the 1840’s. Their instruments have been amplified electronically buth they seek exactly the same vibes as did the Wagners and Lizts.
Here is one out of a 1000 exemples of a fine viking guitar hero displaying white pride playing proto indo euroepan scales mixed with technical mastery of century old instruments.
https://www.youtube.com/watch?v=QEPSeKB7qkI
With all due respect, that video music is pure rubish. But I’ll leave IFA and Roger to explain you why.
I won’t even attempt to match Roger in his response. However, allow me to second Chechar’s trenchant one-word response: rubbish. The video is the same cacophony that masquerades as “Western music”: brassy “voice”, monkey drums, simplistic rhythms, and idiotic melodies. If one truly enjoys Beethoven and the Western tradition in music, there can be no “appreciation” of this horrid trash.
I apologize as it’s not my purpose to browbeat you, but your promotion of said “music” is prima facie evidence that the West is defunct. We have screechings and caterwaulings of “singers” and “guitarists” that pass for music. If you truly understand classical music, you wouldn’t push this crap. Furthermore, I don’t accept the claim that one can’t constantly listen to the Masters. If you internalized the Spirit of Western Music you would not have written that. Western Music, as Roger showed, is “diverse”; from Gregorian chant to Shostakovich.
Again, I’m not here to offend nor to insult you. Please stick with classical music and make yourself the promise that you will avoid the above video and its ilk and replace them with nothing but Classical music and traditional European folk music.
IFA
IFA, see the new post I’ll add in an hour or so and please continue the discussion there.
You are right that jazz requires some skill from the performer. What it does not require, however, is discipline from either the composer or the performer. It is inherently transient because of its improvisational character — if not for audio recording technology, alleged classics like “Kind of Blue” would have no posterity. The only thing that most jazz musicians bother to compose is what they refer to as the head, whilst the rest of improvised. Their structure is a binary A-B-A-B-A-B-A form: A represents the head, and B represents the improvisational passages led by each of the soloists. It is about showmanship and impulsiveness. That might be impressive for unruly teenagers and permanent adolescents, but it is *not* serious music. The mere form and structure of jazz prevents it from integrating any thoughtful counterpoint and orchestration. The harmony tends to be very basic and trite.
As for heavy metal, I don’t deny that people like Steve Vai and John Petrucci are capable performers with their electric guitars. Their problem is that they adore a bastardised conception of music, and they seem unable to perform without using artificial amplification and/or sound effects (which automatically close the instrument off to subtle dynamics and articulation). The electric guitar is one of the worst inventions of the 20th Century. Its steel strings create a sound which is not at all conducive to interesting polyphonic music (unlike, for instance, the classical guitar music of Fernando Sor). You will seldom hear an unaccompanied electric guitar, and if you do, it will be no more appealing to the ears than the accompaniment of an overbearing drum kit, a bass guitar, a screechy “singer”, and perhaps a keyboard synthesiser.
It might also be added that jazz and rock music are both highly repetitive. The song you have posted is a good example. Not only are the lyrics juvenile and unpoetic, “sung” in a lacklustre fashion, but the lauded guitar solo is unmusical and (as expected) affected by irritating wah-wah sound effects. James O’Meara might enjoy it, because it is filled with bent notes and whammy bar movements, defying the twelve-tone equal temperament which he so opposes. It certainly does *not* require the same discipline from the performer as, for example, Joachim’s cadenza for Brahms’ violin concerto. There is no attention to ornamentation (e.g. staccato, legato, trills), harmony or dynamics, and there is no real craft involved. Joachim’s cadenza has all of those things, and it requires a very high level of skill to perform all of the double and triple stops — and that’s just the cadenza! It is the least interesting part of the concerto, in my view, as I find Brahms’ orchestration far more compelling and ingenious than any violin solo. The third movement is more exhilarating than anything one can find in heavy metal, regardless of how much the New Right wishes to think of it as “Viking” music (as if!).
You also wrote:
“We can not listen to Beethoven all day, we also need a more basic entree to lighten our daily burden, which is “folk music”. Which has to be reinvented after a total extermination process since the 40′ties.”
This is wrong on several counts. Starting with your last point, it is not true that folk music needs to be “reinvented”. I rather like Breton and Scottish folk music, and I can testify that these are two very strong living traditions. If you visit Lorient during the first two weeks of August in any given year, you will have a hard time making it down a street without hearing at least one busker (or a group of them) performing traditional music. People flock in from all over France and Europe for the “interceltique” festival in Lorient, and the enthusiasm on the streets is a stark reminder of Old Europe (there’s rarely a black face to be seen, either).
I love it, and I find the music of the Breton bagads delightful. The sound has a wonderful sense of discipline, and the better ones have a strict regimentation of the different sections of the band. It is well-suited for outdoor events in general, and street parades in particular. This is just one example to show that the folk traditions in most European countries have not suffered a “total extermination”, contrary to your claim. Most people are disconnected from them in the West (many favouring the modernist music you offer as an alternative), but they still exist, and enough people take an active interest for competitions, festivals, sessions and concerts to be regularly staged. The strong rhythm of this folk music is designed to complement traditional dance forms like the hornpipe, the an dro, the hanter dro, the gavotte and the reel, incidentally (this is also a function of much classical music). Jazz dancing is a different thing altogether, as is the frenzied idiocy of rock crowds. To compare the two is laughable. One of them serves the cause of decency, and the other serves the cause of debauchery.
As for the first point, nobody is suggesting that we ought to “listen to Beethoven all day”. There is so much variation in the Western classical canon that it would take at least a decade to properly absorb the full catalogues of all the major composers — and that’s without even mentioning the all of the lesser-known composers of merit (neglected or unesteemed composers still have more value than slimy modernist music). Beethoven is the acme of late Classical music, but there is obviously more to it than him alone. Frequently played favourites in my house include Dowland, Buxtehude, Bach, Monteverdi, Josquin, Dufay, Byrd, Haydn, Elgar, Schubert, Rachmaninoff and Dvořák, with many others in between. It is not hard for an attentive listener to hear the distinctions between each one of these composers, nor to understand what it is that unites them as part of the same broad musical tradition.
I think it comes down to this question: are we to behave as animals or as men? *Their* music appeals to the body because of the primacy of its rhythm (and, in the case of rock music, its deliberate, artificial loudness). Western music, on the other hand, appeals to the soul. This is something that you appear to be contemptuous of with your comments about “repression” (a favourite word of the feminists). I do not hold out much hope of convincing you to reject the sensualism which underlies your assumptions about the purpose of music.
Roger:
This response of yours is so professional that I’ll add it as a blog entry after midnight.
If you could point out to other texts of yours that debunk pop music I’d much appreciate it.
Cheers,
Cesar
Cesar,
I’ve already posted it to my site.
IFA
http://www.iranianforaryans.com
“Frequently played favourites in my house include Dowland, Buxtehude, Bach, Monteverdi, Josquin, Dufay, Byrd, Haydn, Elgar, Schubert, Rachmaninoff and Dvořák, with many others in between. ”
I need to acquaint myself with Byrd. I’m crazy about Josquin and Dufay. Do you like Landini?
IFA
To be fair, it seems J O’Meara is against the ‘normalization’ of Homo-families but by the looks of it, Homosexuality seems to be a persistent re-occurrence. After all, people like Ben Klassen and Arthur C.Clarke are revered around here,
Do you mean that Klassen was homo? If so, reliable source please.
Clarke committed the sin of fucking brown teens at Sri Lanka (keyword: brown) instead of injecting his good sperm in an English rose leaving due descendants. He left none.
Unlike Clarke, James is an outright, grotesque degenerate. Click on the link “pitiless hordes of adolescent warriors in rainbow thongs” in the article to see what do I mean.
Chechar, what you really ought to know, is that The sound of music is soul-rotting slush:
http://www.sspxseminary.org/publications/rectors-letters-separator/rectors-letter/222.html
I saw the film as a small kid; sorry but have good memories of it.
I was being sarcastic.
Mr. Cheddar,
I have no interest in “replying” to you or any of the other half-witted mediocrities above, but since an internet search for references to Danielou turned up this screed, which I would never have read otherwise, I feel I owe it as an act of piety (which you would not understand) to respond to this bit of idiocy:
“the primary source of his diatribe against Western music is Alain Daniélou, a homosexual who rejected Western civilisation in favour of Indian Hinduism.”
Danielou’s critique is in the first instance based on mathematics and acoustics, neither of which have anything to do with his sexual proclivities, and neither of which you understand; hence, your ad hominem.
Secondly, by “rejected Western civilisation in favour of Indian Hinduism” I assume you mean that unlike every other so-called Traditionalist, D. lived for some decades in a real Traditional society, viz, rural India of the 20s and 30s. In the course of this, he learned Sanskrit (along with several other languages) and undertook the traditional course of education in the Sanskrit classics. This is the basis of his critique of Western music. This is also the basis of his standing as a Traditionalist, who was approached with deference by Rene Guenon himself (and who asked D. for assistance from his politically connected family in France when the Brits refused to let him into India; he wound up staying in Cairo instead). He is the ONLY modern author other than Guenon, Schuon and Coomaraswamy quoted by Whitall Perry in his magisterial Treasury of Traditional Wisdom.
So yes, by “rejected Western civilization” I suppose you mean he rejected “the modern world” in which case, how does he differ from you? Other than acquiring massive amounts of wisdom and then bringing it to the West in order to save it, rather than writing a silly blog.
As for the view of Western music, and Wagner in particular, presented in my article, it is identical with that of Baron Evola. Whether it pleases you or any other of your pseudonymous pals blogging from Starbucks or their parents basement is a matter of total indifference to me. VINCIT OMNIA VERITAS
One more thing: in the blogosphere I only use two names: “Chechar”, which is a family nickname, and my real name “Cesar Tort”.
“Alain Daniélou, a homosexual who rejected Western civilisation in favour of Indian Hinduism.”
By the way, in this video from 1981 (in French), Alain Danielou speaks favorably of the interdiction of interracial marriage in Indian society. He says that it is our duty to preserve our race/species. The journalist pretends to be shocked and says that’s racism. Danielou says yes, but it is racism conceived as respect for the existence of different races. He says that in India, interracial sex is OK as long as no child is produced.