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Category: Music

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Music Table talks (commercial translation)

Uncle Adolf’s table talk, 125

the-real-hitler

 

Berghof, 30th April 1942, at dinner

German tenors—The horror of Bruno Walter and Knappertsbusch—Furtwängler, the only real conductor.

I am very sorry that Germany at the moment possesses only two really first-class tenors, for these two unfortunates are forced to tear round and round the country singing in town after town with neither rest nor respite. The fault lies with the directors of the Operas and the conductors, who are not at sufficient pains to seek and recruit new talent.

Great conductors are as important as great singers. Had there been a sufficiency of good conductors during the time of the Weimar Republic, we should have been saved the ridiculous spectacle of the rise to eminence of a man like Bruno Walter, who in Vienna was regarded as a complete nonentity. It was the Jewish press of Munich, which was echoed by its Viennese counterpart, that drew attention to the man and suddenly proclaimed him to be the greatest conductor in Germany. But the last laugh was against Vienna; for when he was engaged as conductor of the superb Viennese Orchestra, all he could produce was beer-hall music. He was dismissed, of course, and with his dismissal Vienna began to realise what a dearth there was of good conductors, and sent for Knappertsbusch.

He, with his blond hair and blue eyes, was certainly a German, but unfortunately he believed that, even with no ear, he could, with his temperament, still produce good music. To attend the Opera when he was conducting was a real penance.

The only conductor whose gestures do not appear ridiculous is Furtwängler. His movements are inspired from the depths of his being. In spite of the very meagre financial support he received, he succeeded in turning the Berlin Philharmonic Orchestra into an ensemble far superior to that of Vienna, and that is greatly to his credit. Some people attribute this superiority to the fact that Berlin possesses a number of genuine Stradivarius, but this explanation must be accepted with reserve.

Categories
Degenerate art Kali Yuga Music

WN – “a pathetic joke”

by Joseph Walsh

 
degenerate WNOne of the most corrosive effects on the white man in the post-war era has been “rock music” in my opinion. This “music” is derived from negro tribal music, yet it is listened to by quite a few so-called pro-whites despite Hitler speaking about the danger of alien cultures in degrading Aryan culture. The National Socialists would have outlawed this music as degenerate music and indeed there was a group of youth in National Socialist Germany who listened to negro music imported from the United States, the Edelweiss Pirates, who were sent to concentration camps and the heads of the group were even hanged.

The skinhead pictured in the cartoon above [click also here to see the whole pic] is based on the skinhead youth subculture that began in the mid-60’s in England that has nothing to do with National Socialism. Skinheads ended up getting involved with John Tyndall’s National Front after a youngster from the NF formed a group for youth that caved in to degenerate music-the Punk Front. From there on skinhead rock music became associated with National Socialism even though Hitler, Himmler etc. would have imprisoned youth in concentration camps for listening to rock music.

Considering many White Nationalists, including those in Golden Dawn, are involved in rock music and these are supposed to represent the best of our race, what does that say? It means the White race is in trouble, serious trouble. There are no White men on their way to becoming supermen like the heroic SS, of course there are still racially-conscious pure-blooded White men but their character and thinking is degenerate, unlike the SS. At this rate I wonder how the White race will survive at all. The post-1945 White Nationalist movement resembles a pathetic joke at times, especially when compared to the National Socialism and Fascism of the 1920’s-1940’s.

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¿Me Ayudarás? (book) Autobiography Degenerate art George Orwell Music Pedagogy Sexual "liberation"

Extermination • V

Libro
 
Below, six translated
excerpts from the chapter
“Musical betrayal”:
 
 

His phobia toward the degenerative aspects of the culture that began to appear in Mexico, especially in music, continued throughout the 1960s and early 70s, when I was already studying in his method. Rock music bothered him and even predicted, more than once, that in a hundred years mankind would continue listening to Beethoven but no one would remember the Beatles.

* * *

At that time [the 1990s] I did translation work. That same year [1993] I quoted something in my diary that I had translated that vindicates what my father said about musical pedagogy. I do not know if the quotes are accurate as the translated text was informal. But the question is to collect what comes in my diary: “Plato and Aristotle discussed the role of music as ‘harmonizing body and soul’. Plato went further: ‘The type of music of a nation cannot be altered without changing the customs and institutions of the state’.”

Very true. The “sexual liberation”—permissiveness of promiscuity and debauchery in plain English—modified the type of music in the West. My father never noticed that music education lies primarily in preventing the child or adolescent of the dissipation forces that became fashionable since the 1960s. A hard ethos as that of the Republican Romans would, I believe, repudiate the degenerate music insofar as the ethos and the musical tastes are two sides of the same coin. My father certainly heard the musical degeneration when it initiated in Mexico; he criticized it and resented much what he heard but eventually he followed the crowd [esp. Hollywood] and his descendants strayed even further. Rephrasing Plato, my brothers and nephews completely disharmonized their souls because of such bad manners. In other words, any pedagogic method that fails to separate the child from the surrounding culture of our time won’t work.

* * *

I must clarify that, although the rhythmic exercises taught in [school X] are indeed silly and childish, they do not reach what my beloved Nazis called “degenerate music.” This leads to the simplistic melodies of “disipacionism” to use the term of Hajo Liaucius in the book that I compiled; the obvious and inane tunes that move us into hedonistic relaxation, so well exemplified in the music that horrified Solzhenitsyn when America sheltered him for a few years and harshly scolded the gringos at Harvard. As unlike Solzhenitsyn almost everyone, including white nationalists, are addicted to degenerate music, they have been unable to realize that the best minds sensed that such “music” would be used by the System to degrade the spirit of the population, and to control it. A passage in 1984, for example, written before the birth of rock, proved prophetic. The music in the totalitarian world, Orwell says: “had a savage, barking rhythm which could not exactly be called music, but resembled the beating of a drum… The proles had taken a fancy to it.”

* * *

In another of my ring-binders (my texts are scattered in many places), in April 18, 2005 I wrote that the methods of Orff and Kodály were also fraudulent “if they don’t produce aversion in the pupils towards the music of Neanderthals, like rap.” In other words, it is impossible to have a double life: say, a traditional marriage with children and maintaining a lasting relationship with a homosexual lover. My brother and his musical colleagues do something similar to this hypothetical bisexual: they studied classical music and go to table dances or dance salsas; they have read the classics but plug their minds to the idiot box called television; they married in the church and get civil divorces before the first conjugal dispute; they teach Bach and in their cars listen disco music.

* * *

One time my nephew visited my parents and confessed to my father that, with his cousins, he was composing music for their rock group. My father did some technical questions and my nephew [who studies music composition] answered. Then, my father delivered a very gentle speech about rock. He said it was a “rhythmic, monotonous and a highly repetitive cry; very simple.” My nephew, incidentally, played the rubbish of progressive rock from his cell phone to show the grandfather the new ringtones. My father continued his criticism of rock concerts: “The volume is so tremendous that equalizes everything; what you hear is a barking rhythm,” just what Orwell said in his best-achieved novel.

Then my father spoke of an old article by a commentator on classical music that had opined about rock. He mentioned the name of the critic (that I failed to annotate), who had written about the “tremendous, crushing phenomenon” which was rock in its origins. My father spoke at length about African rhythms as a preamble to classify the rock. That they play it “to the extent that hypnotize” and the members of the tribe do not dance in dancing couples. Rather, the ritual ends in rapes that surprise the tourists. “I see the same in rock. The volume is so strong and it is so much of it that the affair ends really badly.”

* * *

What I said in my dairies was true: only by cutting off the child from the failed culture that surrounds him it is possible to educate him. We need a Fourth Reich to put things in order.

Categories
Christendom Degenerate art Music

On Christian rock

by Roger

When I was doing a bit of research into Calvinism last year, and especially the state of Calvinism in North America, one of the funniest things I encountered was “holy hip-hop.” There are people out there who self-identify as Puritans and listen to this jungle drivel, referring to it as “lyrical preaching.” Have a quick look at this.

I’m not masochistic enough to watch the entire video, but how humiliating this must be for veteran Calvinists living through their twilight years! In the case of rock “music,” the apologists can at least argue that the music is melodic. It is still evil, but it is evil of a higher caste than rap. To go from Bach to this is the epitome of decadence. It is fitting, in a way, because the demographic future of Reform Christianity is going to be predominantly black, and there is no place for Bach in black societies. All universalistic churches are going to be wrecked by the darkies, and they deserve what is coming their way.

I still have respect for some of the Traditional Catholics, but they can never reconcile their universalism with the cause of true racial justice. When they end up with a black pope, how will they be able to justify wanting to deport niggers from their countries, or their opposition to miscegenation? The head of their own church will be a symbol of racial egalitarianism.

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Music Neanderthalism Table talks (commercial translation)

Uncle Adolf’s table talk, 168

the-real-hitler

12th August 1942; isolated remarks

Dancing was the first method of artistic expression employed by man. The most beautiful dance in the world is without doubt the waltz, a perfect harmony of movement and music. After it I should place the Schuhplattler dance of Upper Bavaria, which, thanks to its austere and dignified style, never makes a man look ridiculous. But the ballroom dancing of today…! It’s nothing but a series of simian posturings!

Categories
Beethoven Berlin Mozart Music Table talks (commercial translation)

Uncle Adolf’s table talk, 188

the-real-hitler

24th June 1943, evening

The vibrant pulse of Berlin—Vienna the home of music— Mozart—Slav blood and German blood—Beethoven—For and against Vienna—The new capital of the Reich—A remark of Treitschke.
 

In Berlin, I think, people work harder than anywhere else. I know of no other city in which it would have been possible to complete the construction of the Reich Chancellery in nine months. The Berlin workman is unique as a swift and efficient craftsman. There is nothing to touch him in Munich or Vienna, where the infusion of foreign blood—Polish, Czech, Slav, Italian—still has an influence.

When one speaks of Vienna and music and proclaims Vienna to be the most musical city in the world, one must not forget that at the time of our great composers, Vienna was the Imperial city. She was an attraction for the whole world, and was thus the city which offered artists the greatest scope and opportunity. In spite of this, how shabbily the musicians were treated there! It is not true that either Beethoven or Haydn had any success there during their lifetime. Mozart’s Don Juan was a failure there.

Why then did Mozart go to Vienna? Simply because he hoped to get a pension from the Emperor, which he never obtained. Mozart’s family, it has been established, came from Augsburg; he was therefore not an Austrian but a Swabian. The whole blossoming of our music in Vienna is not due to the town; such things do not spring from their environment, but from the genius of a race.

Really creative music is composed partly of inspiration and partly of a sense of composition. The inspiration is of Slavonic origin, the art of composition is of Germanic. It is when these two mingle in one man that the master of genius appears. In Bach’s music it is the composition which is marvellous, and he certainly had no drop of Slav blood in his veins. As regards Beethoven, on the other hand, one glance at his head shows that he comes of a different race. It is not pure chance that the British have never produced a composer of genius; it is because they are a pure Germanic race.

Do not for a moment imagine that I am hostile to Vienna. I criticise with equal vigour everything in Berlin which displeases me. My task is a far greater one, and I do not think in terms of Vienna or Berlin.

It is perhaps a blessing in disguise that I was for so long a Stateless person; for it has taught me the tremendous value of a unified Germany.

Treitschke once said: “Germany has cities, but she possesses no capital.” To that I will add that she must, and she shall, have one. I shall take care that no town in the Reich can rival the capital.

I have examined certain projects for Vienna, but they demand a financial backing from the Reich which I do not consider should be accorded to any city but the capital of the Reich.

Any other decision would be wrong. Vienna must, of course, be cleaned up and cleared of slums; and this will be done. I have already cleared the Jews out of the city, but I should like to see the Czechs go, too. Whatever new construction may be undertaken in Vienna, it would be folly for her to try to surpass the existing glorious monuments of the Imperial City.

_____________________________

Consider obtaining a copy of the complete notes
published by Ostara Publications.

Categories
Art Music Richard Wagner Table talks (commercial translation)

Uncle Adolf’s table talk, 189

the-real-hitler

 

1st March 1944, midday

A nursery for film actors—Futility of the art critics—Weber’s Freischütz and Bizet’s Carmen.
 

It is often said that among our film actors we have none capable of playing certain parts—that, for instance, of the hero. This type of artiste, they say, is non-existent. I have never heard such nonsense. But to find them, you must, of course, look for them. Producers make the mistake of seeking always in the same old circle—the stage and the theatrical agencies. If they would look elsewhere, they would soon find what they want. One has only to think of the splendid types of manhood to be found even now, after five years of war, in our regiments.

Some years ago, before the war, I passed a camp of the Labour Service at Bergdorf. Immediately my car was surrounded by a crowd of bronzed and laughing young men. I remember remarking to one of my companions: “Why don’t our film producers come to places like this in search of talent? In a year or two it would be possible to transform one of these lads into an accomplished actor, even if it were just for one particular part for which they are seeking a star.” In this respect Leni Riefenstahl has the right idea: she scours the villages in search of the peasant types she requires.

In the nature of things, the opinion of an art critic must not be accepted as an irrevocable and unassailable truth. His criticism is, after all, only the expression of his own personal opinion.

When in ten different newspapers ten different critics give their opinion on one and the same work, ten separate personal opinions emerge—unless, of course, they have previously received instructions from interested parties. Has such an opinion any value? I doubt it. We are too prone to forget that the ancients disregarded the art critic. They judged a work on its merits, as they saw them, which, after all, is the natural method of selection. Art criticism, as it has developed since the beginning of the nineteenth century, means either the death of a work of art, since the critics never cease to tear it to pieces; or the death of the press, since the public could have no faith in a press in which the critic of each individual newspaper gives a completely different story on exactly the same work.

If we were to be deprived of art critics, we should not lose very much! One single critique signed with a well-known name may destroy the aspirations of an artist for as long as twenty years.

Examples are not lacking. How many of the artists whom we admire greatly today were previously castigated by the oracles of the times! What is true of painters is true of artists in other fields.

Hoffmann was sufficient gravely to prejudice the chances of success of Der Freischütz. And yet this work, with its deep harmonies, had all the ingredients which should have appealed to the romanticism in Hoffmann. Think of Wagner and how he was torn to bits for ten years by the critics! Had there been no one who appreciated him, it is questionable whether he would have continued with his work. The same thing happened with Carmen. And now the critics who tore these masterpieces to shreds are completely and utterly forgotten, and the works live on.

_____________________________

Consider obtaining a copy of the complete notes
published by Ostara Publications.

Categories
2nd World War Americanism Degenerate art Music Revilo Oliver

Degenerate “nationalists”

by Roger

Let it be declared that National Socialism, so uniquely responsive to harmony and beauty, health and strength, has absolutely no room for “rock”, that degenerate din of the African jungle to which the above hooligans [skinheads], and also others pretending to be National Socialists, are addicted, and which, we would have them know, Hitler would most certainly have prohibited. This is something that skinheads—if they are to elevate themselves from this category, have got to learn.

—Colin Jordan, “National Socialism:
Vanguard of the Future”, pp. 26-27,
Historical Review Press, 2011



I don’t know much about Génération Identitaire (their alleged British branch does not exist outside of Facebook, to my knowledge, and is inactive even there), but there is a popular current in continental Europe nowadays for “social-nationalism”, which is manifested through various different fronts: National-Anarchism, Autonomous Nationalism, and so forth. I find it repulsive aesthetically and politcially. The best example might be CasaPound in Italy, whose behaviour seems like an ostensibly right-wing mirror of the 1968 New Left. They live as squatters in unoccupied properties, they have their own rock band, and they organise meetings to promote extremely pretentious “beyond left and right” nonsense in which enemies like Che Guevara are revised as heroic national liberators.

Worst yet are the Autonomous Nationalists, who record “NS Hip-Hop” and idolise the likes of Otto Strasser, a renowned traitor who spent the large part of his life attacking Adolf Hitler and the Third Reich from outside (he was essentially the Trotsky of National Socialism). They self-consciously dress themselves like anarchists and they use anti-fascist symbols, like a bunch of inverted Situationists.

This must be heard to be believed: (YouTube link) .

H youth1How can a nation go from producing marches like Preußens Gloria and Volk ans Gewehr to this? I’ll tell you how: the imposition of foreign anti-values by the 1945 Allied occupiation (which Strasser, the hero of countless social-nationalists, fully supported; in fact, he testified against Germans at the Nuremberg show trials). Even the German federal constitution was written by the occupiers, so naturally their culture ended up getting debased by what Solzhenitsyn referred to in 1994 as “liquid manure from the West”, which was flooding into Russia after the fall of Soviet Socialism. We can and should hate all Bolsheviks, but it is impossible to deny that the Soviet Union’s protectionist attitude towards culture managed to prevent Beatlemania from taking off in most of Eastern Europe.

The above quotation by Colin Jordan is taken from an essay entitled “The Enemy Within”, which is largely a critique of Strasserism. The fact that attacked the skinhead rock fans in the same same essay shows how little things have changed since he wrote that. Here is another one from the same book of essays, again against rock music and its worshippers:

This is what we are up against! The bulk of our younger generation clad appropriately in the slovenly uniform of the creed of slovenliness, debauching their minds in an ecstasy of adoration of a chaos of cacophony and the vile creatures of the night purveying it. This represents democracy’s maturity, and that maturity is the prelude to communism. (pp. 108-109)

I also enjoy Revilo P. Oliver’s definition of rock music: “the cacophonous din that has replaced music in degenerate circles”.

H.C. Strache, the leader of the FPÖ, has released several videos of himself rapping. It is a disgrace. I want to like that party, seeing as it has the support of 42% of Austrians in the 18-30 age group, but it is hard to get enthused when its most senior figure is happy to make such a fool of himself in public. Perhaps it can only garner the support of that 42% by being degenerate.

Categories
Child abuse Degenerate art Hojas Susurrantes (book) London Music Sexual "liberation"

Dante’s outer circle

In the third season of Downton Abbey, when Matthew experiences a visual shock while entering a jazz club in London trying to rescue Rose dating a married man, Matthew proclaims aloud that the club is “Dante’s outer circle.”

Downton-Abbey-Christmas-2013

(In the above photo inside Highclere Castle this spoiled girl, Rose, appears with a pink dress.) Downton Abbey is the only recent TV series that I might recommend. Even the kissing of Rose with a Negro in the next season is depicted as a silly revenge of Rose against her abusive mother. But there’s no obvious cultural or racial treason in the episodes I’ve watched as to date. (I’ve only missed the last one, the 2013 Christmas special of the fourth season).

These sort of post-war London clubs that shocked Matthew were in operation a hundred years ago. Music is infinitely worse now. Since the self-destructive defense mechanisms of abused adolescents are my specialty I’d claim that the rock classics you may listen today—for example “Tie Your Mother Down” by the group Queen that I used to like when I was the victim of an engulfing mother—are precisely silly defense mechanisms.

Now that I wrote a book confessing how I was abused as a teen I realize that a mature man may develop non-degenerate defense mechanisms to cope with past memories.

Alas, this is not the case of the overwhelming majority of white nationalists. All of them seem to fail to comprehend that it is impossible to revert back to the healthy sexual mores depicted in Downton Abbey if at the same time they don’t reject the music of Queen and the myriads of other rock groups.

In his blog’s entry of the first day of the new year, Iranian for Aryans reposted what musician Roger had said recently:

I’ve just finished reading this interview with the late Cardinal Domenico Bartolucci, former musical director of the Sistine Chapel, and I thought you might be interested by some of his comments. He is speaking primarily about liturgical music, but he also discusses about the general condition of music in this rotten century:

“[My father] was a workman at a brick factory in Borgo San Lorenzo, in the province of Florence. He loved to sing in church. And he loved the romance of Verdi and Donizetti. But at that time, everybody sang: the farmers while they were dressing the vines, the shoemakers while they were working a sole. There were bands in the piazza, during the holidays music directors came from Florence, and the area theatre had two opera seasons each year. It’s all gone now.”

Simple Italian factory workers used to love the music of Verdi and Donizetti? I wonder how this fits with the black metal apologists’ belief that classical music was historically something for a tiny bourgeois clique, and that most normal people were only familiar with folk songs.

I can remember them trying to make these arguments in the comment threads of Counter-Currents, Alternative Right and the Occidental Observer. There is no excuse these people will not use if it will enable them to continue listening to their beloved modern music. Were they serious, they would spend a moment considering why old reactionaries, who grew up before rock music became ubiquitous, are so repulsed by distorted guitars and screeching. (Modern man knows better, of course.)

When asked if the old musical traditions are disappearing, the cardinal said, “it stands to reason: if there is not the continuity that keeps them alive, they are destined to oblivion.”

I think that sums it up in a nutshell. One of my goals in 2014 is to acquire a tenor viol and start learning music by the English consort composers (as well as continental composers from the same time period). Whether it will be possible to find other violists to form a consort is another problem, but keeping the music alive with one’s own hands is a good starting point. It is undoubtedly the case that music cannot survive as a collection of digital audio files. That will turn it into a mere museum piece. If that happens, it will be sad but just. A civilised nation cannot choose to embrace African voodoo devilry at the expense of its own culture and expect to continue living with dignity.

Yup… Precisely because my mother is a piano teacher I rebelled against my family’s traditions and, like Downton Abbey’s Rose, never learnt how to play it. But now that I fully processed my pain thru a thick book I realize that my adolescent infatuation with Queen was just silly. I no longer listen rock. In fact, I just started learning piano at my relative old age!

By the way, in a most recent personal communication, Iranian commented on Roger’s above sentence: “There is no excuse these people [white nationalists] will not use if it will enable them to continue listening to their beloved modern music”:

How correct Roger is! What we have here is a degenerated breed of WNs / “traditionalists” who, basically, have no musical taste, are divorced from their superior heritage, and desire a world where bad music and pornography reign sans Jew.

Recently at Facebook, a Counter-Currents sodomite responded to Iranian that a Persian ought not dare teach him what his western cultural roots are.

Can’t he? I am not an American either but, to my present ears, years after I processed my adolescent pain, the “music” promoted by Counter-Currents and other nationalist sites is becoming like Dante’s outer circle certainly…

Postscript of January 11: Alternative Right is gone now, but Richard Spencer has opened a new site promoting exactly the same “black metal” degeneracy.

Categories
American Revolutionary War Autobiography Music Racial studies

Mexico: The crypto and the mulatto

Here in Mexico, a couple of days ago, after my family celebrated the Day of Independence, I caught my Catholic father and sister speaking in high terms about Miguel Hidalgo, the Catholic priest that in 1810 started the war of independence; and José María Morelos, the mulatto that continued Hidalgo’s anti-white wars. While father and daughter recognized that Hidalgo and Morelos killed lots of Iberian white civilians and “from 20,000 to 30,000 prisoners of war,” they, nonetheless, regard them as “heroes.” In the Mexican wars of independence from Spain of 1810 to 1821 my father and sister could have been confused with Spaniards and, still, like many other Mexicans who could pass as Mediterraneans, they side the crypto-Jew and the mulatto. Why?

miguel-hidalgo

The 19th century portraits of Hidalgo are fake. All of them used a man of Austrian origin who posed as the father of the independence. Original reports depict Hidalgo with hooked nose. The overwhelming majority of Mexicans ignore that the Catholic priest Hidalgo was probably the son of Jewish conversos. Even the Mexican Jews, no longer cryptos, acknowledge it: “Two genealogical studies of the eighteenth century, the Archivo General de la Nación de Mexico and the Ramo de la Inquisición, suggest that Father Miguel Hidalgo y Costilla, the father of Mexican Independence, had a Converso background and that Bartolomé de las Casas, a Bishop who fought to free slaves in Nueva España, also had Jewish ancestors.” In case of my family, they are under the naïve impression that both Hidalgo and Las Casas were of pure Spanish origin.

But what about the mulatto Morelos? The 1944 edition of José Vasconcelos’ A Brief History of Mexico that my father read long ago, says (my translation):

For Morelos, for example, to be comparable to Washington, it must be assumed that Washington had decided to recruit blacks and mulattoes to kill the English. Instead, Washington disdained blacks and mulattoes and recruited the English of America, who did not commit the folly of killing their own brothers, uncles, and relatives, only because they were born in England. Quite the contrary, each participant of the American Revolution felt pride for his British ancestry and hoped for the betterment of the English. This should have been the sense of our own emancipation, to transform New Spain into an improved Spain, better than that of the peninsula but with its blood, our blood. The whole later disaster of Mexico is explained by the blind, criminal decision that emerged from the womb of Hidalgo’s mobs and is expressed in the suicidal cry: “Death to the Spaniards!”

So why many Mexicans who physiognomically could pass as southern Italians, Greeks or Spaniards side the mulatto against their blood? Recently, for example, my father’s orchestra composition, La Espada (The Sword), was a success in Mexico City: an homage to the mulatto Morelos (my father has zero black blood by the way).

The music is good—the first ten minutes can be listened in the above clip—, but the libretto is outrageous. The poet Carlos Pellicer (1897-1977) wrote it and my father adapted it for 150 voices and orchestra:

Tú fuiste una espada de Cristo,
que alguna vez, tal vez, tocó el demonio.
Gloria a ti por la tierra repartida.
Perdón a tu crueldad de mármol negro…
Gloria a ti al igualar indios, negros y blancos…
Gloria a ti que empobreciste a los ricos
Y te hiciste comer de los humildes,
Procurador de Cristo en el Magníficat.

My rough translation:

You [Morelos] were a sword of Christ,
once, perhaps, touched by the devil.
Glory to you for distributing the land.
Sorry for your cruelty of black marble…
Glory to you for equating indians, blacks and whites…
Glory to you that made the rich poor
And made the humble eat,
Attorney of Christ in the Magnificat.

When Pellicer said “touched by the devil” he meant the killings of unarmed Iberian whites that the mulatto ordered in cold blood. That’s why Pellicer said “black marble”: Morelos’ appearance was even darker than the Amerind skin! So much that, to avoid being called names, Morelos covered his curly hair—obvious black heritage—with the legendary bandana that adorns his head in every single picture that represents him.

JOSE MARIA MORELOS Y PAVONThe rest of my rough translation of the famed poet needs no explanation. However, as far as I know Catholic Pellicer (whom I met as a child when my family visited him at Tepoztlán) didn’t have black blood either. You can imagine where all of these ethno-suicidal ideas came from: the religion of the inversion of values of these Body-snatched Mexican Pods, my family included.