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Category: Music

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Demography Islamization of Europe Jane Austen Music Neanderthalism Pride & Prejudice Sex

Pride & Prejudice

It took Will Durant more than three decades to write the monumental The Story of Civilization. After finishing the ten volumes of the Story, it followed the essay The Lessons of History, which reflect both Durant’s erudition and his accumulated wisdom. I read The Lessons of History while living in the States and would like to quote some excerpts from one of the chapters, “Biology and History”:

The third biological lesson of history is that life must breed. Nature has no use of organisms, variations, or groups that cannot reproduce abundantly. She has a passion for quantity as a prerequisite to the selection of quality. She does not care that a high rate has usually accompanied a culturally low civilization, and a low birth rate a civilization culturally high, and she sees that a nation with low birth rate shall be periodically chastened by some more virile and fertile group…

There is no humorist like history.

No humorist indeed! Presently the Moslems are gradually outbreeding the Anglo-Saxons, the French, Dutch and the Germans in a Europe that will soon become Eurabia. But how could this have happened?

The 2005 movie adaptation of Pride and Prejudice is a good start to approach what I said in recent posts about the Jane Austen world, even if the 1995 television series depict more faithfully the early nineteenth-century England. The music of the 2005 adaptation (hereafter referred simply as P&P), composed by Dario Marianelli, mostly for piano and very little for the orchestra, demonstrates that it is a lie that sublime music cannot be composed by whites after the century of Mozart and Beethoven.

Watch the film!

I have posted nine short diatribes against degenerate music in this site—a National Socialist term—, the simian music that even white nationalists seem to be very fond of.

It is impossible to demonstrate objectively that to like contemporary pop music (which must not be confused with folklore) is a symptom of degeneracy, insofar as an intra-psychic emergency from Neanderthalism is a thoroughly subjective dimension. What can be done is to imagine a future ethnostate that re-establishes marriage as the central institution for the white people. After the first and second generation of citizens of the ethnostate pass away, I bet that the surviving grandsons and granddaughters, so imbued in Austen-like sexual mores and memes, will not comprehend why their granddads fell spiritually as low as liking rock music and its heaviest modalities.

Presently Western popular music, television and the overwhelming majority of movies only reflect the utterly rotten souls of the white peoples. It is no coincidence that those white nationalist sites that promote rock and Hollywood also promote homosexualism or heterosexual fornication—never traditional marriage, generous breeding and chastity. What can I say to those nationalists who want a truly traditional ethnostate? That the latest film adaptation of P&P reflects a possible future.

The dollar will crash soon. Social havoc will result especially at the epicenter of the crash: Washington, New York, Los Angeles—precisely the western cities with more non-whites. A huge political change will follow the crash, with a bankrupted US no longer capable of playing Globocop and with all the American military bases called from overseas to deal with the chaos at home. It is not clear what would be the fate of Israel once its sole defender is removed.

Later in this century the monetary/social/political crises will converge with the depletion of oil, as Sebastian Ernst Ronin has been hammering in his Hammer & Anvil site, with no reliable energetic resource capable of replacing it in due time. This will cause mass starvation, especially in the undeveloped countries. The convergence of catastrophes will lead to a world completely different from our own, with country farming as the central lifestyle instead of big cities advocating the glory of Mammon.

If after such convergence white ethnostates are formed, and I believe that Harold Covington has a point in what he describes in his futuristic novels, the ethnostate will likely resemble past centuries with whites living in bucolic Englands and wearing Victorian clothes as a sign of repudiation of the liberal ethos of our centuries.

It surprised me that Friedrich Nietzsche wrote in 1888 that Europe was starting to abandon the institution of marriage in the pursuit of more eudemonistic sentiments. And it surprised me too learning that Francis Parker Yockey wrote that even in the 1940s Hollywood started to promote the ideal of mere romantic loves with no connection to biological reproduction or the perpetuation of our species.

P&P

Fortunately, after the Dantesque conditions that the convergence of catastrophes will bring to the western world, the white people will rediscover that Life has a prize: that many young white soldiers will perforce die virgins while defending their new nations, and that each fair, young woman will be bringing lots of white babies to the world even if that means going back to domestic drudgery. Yes, there may still be an occasion for romantic love but the general rule for whites will be to breed generously and to fulfill what Durant called a lesson of history.

The womb of the white nations must be reopened.

Categories
Degenerate art Music

Pseudotradition

Iranian for Aryans latest entry is called “In case it’s not published,” in reference of a proposed comment for a thread in a Counter-Currents article, of which I quote most of it below:

 
I wrote the following commentary in response to this essay.

Sound and fury signifying nothing. There’s nothing “Radical Traditionalist” about these “works”.

If you want real Tradition check out music from the Western canon: chant to (some) Shostakovich; take your pick.

Modernists, almost all of whom are either degenerates, charlatans, or both, represent a creative and spiritual anti-Tradition degeneration. Pärt, like others, saw that his serialism was not filling concert halls nor paying dividends, so he followed the changing times and attempted to create a niche for himself. The result? An empty and very insipid attempt at “numinosity”; if one may deign to call it such.

Categories
Art Degenerate art Music

­Advanced beings prefer advanced music

Vienna-State-Opera-in-1912No other biocultural entity has developed heavenly music quite like the White race has. Your European ancestors couldn’t be bothered with jungle music. Why ignore their wisdom? Why spit upon your heritage by tolerating “fat beats” for even one second? Tunes like that are the rhythm that savages slither and writhe to. Cacophony of the most vulgar and loathsome kind. Do everything in your power to de-familiarize yourself and others with it. One might be tempted to ask “If it’s so awful why is it so popular?”

Here’s the answer kiddies: positive association. Constantly inundating the airwaves with jungle music forces us unconsciously to connect it with events happening at the time of hearing. So help de-program your kin and turn off that trash!

♣

Originally posted at freedomcobra.wordpress
(that blog has been removed)

Categories
Alexandr Solzhenitsyn Degenerate art Music Neanderthalism Patriarchy

Simian music

“In the long history of mankind there have not been so very many democratic republics, yet people lived for centuries without them and were not always worse off. They even experienced that ‘happiness’ we are forever hearing about, which was sometimes called pastoral or patriarchal… They preserved the physical health of the nation… They preserved its moral health, too, which has left its imprint at least on folklore and proverbs—a level of moral health incomparably higher than that expressed today in simian radio music, pop songs and insulting advertisements. Could a listener from outer space imagine that our planet had already known and left behind it Bach, Rembrandt and Dante?”

—Solzhenitsyn (From Under the Rubble)

Categories
Music Psychology Stefan Zweig

An unheard of continent for nationalists

The recent discussion in this blog about degenerate forms of music moved me today to add a post about Jung’s concept of the “Self.”

It’s all too obvious that, like the rest of mankind, white nationalists are totally ignorant of depth psychology, which must not be confused with the epidermal psychology that is taught at our universities.

Confusion-bookA few days ago I reviewed my copy of Stefan Zweig’s Confusion: The Private Papers of Privy Councillor R von D as a starting point to introduce nationalists to deep psychology. Unfortunately, I cannot quote it here since my copy is in Spanish.

Originally the idea occurred to me to write every Friday or Saturday about how modern pleb music—rock and its heaviest derivatives—is “bad for you,” as CorkyAgain said in a recent thread. Unfortunately, besides some snippets from George Lincoln Rockwell and Ford’s The International Jew about music promoted by the Jews I don’t know if there exists more substantial literature that demonstrate this premise, that is, scholarly literature from professional musicians.

Whereas the members of my family are classical musicians, my field of interest had nothing to do with music. Music is not my forte, at least not as a profession. Before I became racially aware I used to be a fan of what may be called intuitive psychology, to differentiate it from academic psychology: the latter, the impossible attempt to understand the human psyche without delving deeply into the dark chambers of one’s soul. Genuine delving into one’s own Self is so didactic that I believe that Zweig could be a good starting point to invite nationalists to set foot on an unheard of continent. That they know nothing of it reminds me that most people who live in New York have never set foot in the Statue of Liberty.

Incidentally, those who complain that Zweig was Jewish should remember that he passed the “Hitler test”. Zweig wrote the script for a Richard Strauss comic opera, and Strauss insisted that Zweig’s name appeared on the theatrical billing, much to the ire of the Nazi regime. But it seems that the script of Strauss’ chosen librettist was read by none other than the Führer himself before the opera was premiered.

I am tempted to purchase a copy of a German-English translation of Zweig’s Confusion with the sole purpose of quoting it here. But is it worth it? I very much doubt that nationalists are interested in intuitive psychology, in spite of the fact that much of the movement’s failure has been the result of the emotional imbalance of some of its members during the previous decades.

Categories
Degenerate art Kali Yuga Music Neanderthalism William Pierce

Let’s atone for Gomorrah’s sins through Gomorrahite art!

Criticizing poser metal bands, William Pierce committed the terrible mistake of proposing to use that sort of extremely degenerate music to counterbalance the message of it—through the same musical genre! While Pierce liked classical music and loathed death metal (cf. this video), his situation was so desperate that, like today’s nationalist pundits, he believed that if only the lyrics would be changed, like some rockers who introduce pro-fascist letters in their melodies, that would be a great asset for white nationalism!

Poor Pierce. No wonder why he failed so miserably. As I have implied elsewhere, you are fooling yourself if you believe you can atone for Sodom’s sins through Sodomite art. (The only righteous way is to leave the damned cities and pray for divine, fiery justice.)

Categories
Degenerate art Kali Yuga Music Neanderthalism

A fissure with white nationalists

The apotheosis of technology was considered the hallmark of the West, according to Lawrence K. Brown, the famous Spenglerite. Yet, I question whether its music is not equally advanced. However, today, Technos, and not music, is appreciated and grasped much more readily by the children of the West. Truly, the sons of the West have lost their souls.

—Iranian for Aryans



It is truly comical that some friends have tried to reconcile with me after the controversy in my previous posts on music by claiming that, once in a while, they also listen to classical music—while at the same time they post comments in recent Counter Currents (CC) threads expressing admiration for industrial music, a subgenre of heavy rock.

Since westerners, including most white nationalists, have already lost their souls they ignore that paying lip service to classical music is not a litmus test to gauge the spiritual maturity of an individual, but how much the spiritually evolved individual loathes degenerate forms of sexual mores and music.

It’s precisely the fact that even nationalists have lost their western soul what moved me to rephrase William Pierce in my previous post with the words, “The essential aspect of what is happening to the West is spiritual, not just the scheming of the Jews.” Proponents of a mono-causal explanation of Western malaise—the Jews—should take note that I am reaching these conclusions at the same time that I find myself reading Kevin MacDonald’s first book of his trilogy on Judaism (that, incidentally, I consider even more illuminating than the third one, The Culture of Critique which I read last year).

I must confess that the discovery that even nationalists are crucifying the western spirit with filthy music has disappointed me greatly and has created a fissure between me and them that will not heal until the ethnostate reclaims our western soul. It is symptomatic that one of the authors of the recent CC articles about English heroine Emma West authored also another CC article promoting rock, claiming that classical music is dead without ever noticing that, with it, he is part of the problem that caused the crucifixion of the English heroine in the first place. It was England after all what catapulted the music for simpletons composed by a Super rock star who, in 1969, not only committed what should be considered the ultimate sin for nationalists, marrying a non-white, but even changed his pure English name introducing the middle name “Ono.” And even Greg Johnson in his latest apologia of industrial music acknowledged: “Politically speaking, their hearts [of the members of the rock band Rammstein] are on the left. Not the totalitarian left, but the liberal left: the individualist, consumerist left.” In other words, this band is the product of exactly the same degeneracy that for decades has been destroying our culture.

Yesterday, at CC I wrote something that no CC commenter will take seriously and that marks my fissure with them:

My postulate is that music, as architecture, is the outward manifestation of the soul of a culture. Is today’s culture healthy? If the answer is in the negative and my postulate is correct, it can only mean that present-day music and architecture are decadent (cf. the videos on beauty that The Occidental Observer featured in the past months), including those immense soulless skyscrapers of steel and crystal—monuments to Mammon—, and industrial music, groove metal and heavy metal.

Let’s suppose for a moment that Covington’s ideal, the formation of a new nation in the Northwest that reverts values to the late 19th and early 20th centuries, including clothing—a paradise for Matt Parrott’s fedoras!—becomes reality: a nation where America’s ZOG, race-mixing, feminist and degenerate sexual practices are gone forever.

This is my prediction: two or three decades after the new nation is formed, gradually it will be comprehended that the music—or heavy noise: antimusic—composed during the interregnum was increasingly decadent until Western civilization collapsed. Interregnum music might still be heard, but only as soundtracks of films depicting the darkest night of Western soul in the second half of the twentieth century and the first decades of our century.

What I find a totally impossible scenario is that a civilization that rediscovers itself and reverts to the social, sexual and esthetical mores of our ancestors will still like industrial music or groove metal.

Categories
Degenerate art Music

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?

Categories
Beauty Degenerate art Mozart Music

Are white nationalists cultural niggers?

or:

Does it take an Iranian immigrant to the States to promote Westerners to realize this heritage?

Yesterday Greg Johnson did not let a comment of mine pass through in the comments section of an article titled “White Rock,” id est, rock for the white people. Well, I was not the author of that comment. I limited myself to copy and paste an article originally titled “Being White and Listening to ‘White Power’ Music” by Iranian for Aryans, published in 2004 but probably written in 2002:


Twice in recent weeks, Mr. Kevin Alfred Strom has inundated his American Dissident Voices listeners with White Power (WP) or Resistance Music. This is being touted as a new pro-White media, an “alternative” to Jewish anti-White Music.

Well, fellow Westerners of a common heritage—if there are any out there!—WP music is not and should not be thought as “White Music.” WP music has its roots in Rock ‘n’ Roll which in turn is a Jewish cacophony of ugly and bestial noise. Jazz, and Rock ‘n’ Roll are Jewish to the core, and WP music takes up these same tunes, thumps, and bangs and adds “pro-White” lyrics to it, trying to make a heap of dung into something worth fighting for. There is nothing beautiful about WP music.

If we need to get back to our European (and essentially Nordic, Aryan) culture, then we need to re-learn the past musical traditions. We need to re-invoke the Trinity: Bach, Mozart, and Beethoven, in addition to others. These composers should not remain mere names to Whites who want to re-instill their lost heritage! These are names which should send shivers down one’s spine, which should make a man develop a feeling of mysterious, religious zeal and awe upon hearing just the names of these Titans.

Bach is the Soul of the West, his Mass in B-minor is a call to a Religious Awe felt for, traditionally, the God of the West.

Mozart is the earthly manifestation of the Divine Spirit, the joie de vivre, the music of sprightly Imps.

Beethoven is not a St. Bernard but the Overman of the West, the Eternal Fighter and Conqueror, the healthy and robust warrior of the Spirit of the Occident, a veritable Conan.

How can one—EVER!—listen to anything else when we still have this part of our heritage available to us and not outlawed? How can Mr. Strom play WP music when there are the Masters? Does it take an Iranian immigrant to the States to promote Westerners to realize this heritage? I listen to European Music day-in-day-out! It is my bread and butter! How can one listen to Dresden or Screwdriver with their numerous tattoos, shaved heads, and Nazi t-shirts when there is a plethora of composers that awaits discovery? How many of our people know about Palestrina, Buxtehude, and Purcell? What about Verdi, Leoncavallo, and Mascagni? May the Gods look favorably upon us, since culturally, we’re even inferior to “niggers.” At least blacks have their drum beats and their go-go music, while we—literally—ape them and if not, our “enlightened” White constituency and leaders, for the most part, fill this lack of true Western musical heritage with WP music. We know more about Max Resist than we do about Mussorgsky!

Be that as it may, let fairness reign. I admire the artwork on Mr. Strom’s webpage immensely. He has a great taste in the Romantic Art (Pre-Raphaelites, Bougeureau, et al.), but to serve two gods—one of Europe and the other of WP music—is, to me, unacceptable.

I, an Iranian by blood and birth, who fell in love with the majesty and creative ability bordering on the cosmic, of Nordic Man, had European Music as the impetus, the building-block, the diving-board for the development of a total, and uncompromising love for the White Race. Bluntly, I started loving the White Race mainly for its Musical creations. Ever since I started listening to Chopin and Bach back when I was twelve, I knew that there was something transcendental about this music, and hence, its creators. With the help of the correct books and personal, empirical interactions amongst blacks and other non-Whites, I developed a Weltanschauung that promotes the Goose that lays the Golden Egg. Readers, you know of what I speak.

Folks, if you call yourselves White, and care about your White heritage in more than just words, then get rid of the skinhead music, nay, ritually burn the WP music CDs, go to your public library, and soak up the European basic fare, such as the Bach Brandenburg concerti, Chopin etudes, Vivaldi concerti, Mozart symphonies, etc. Do it! We cannot afford to be cultural niggers. For no better reason, there is Heaven to be found in European Music. One cannot genuflect to two gods: it’s either Haydn or Hell!

*   *   *

In “A Response to My Critics and Why Do I Care About Aryans?”, Iranian for Aryans wrote:

I thank the few people who came to my support in this music debate concerning WP music and the traditional music of the West. I do not want to argue, but let me just reiterate that once one has listened to, understood, and loved the Masters, one can’t invoke Metallica, the Beatles or WP music. (Sorry, but Metallica drum beats point to their African heritage, and also, heavy metal’s spirit is one of dissolution, and consequently, was very much promoted by Jews.) This is a dichotomy that can’t exist in my mind.

Categories
Degenerate art Lord of the Rings Music Neanderthalism

Spitting on the avatar of God

Now that I am reproducing the best essays of Michael O’Meara’s Toward the White Republic, I’m becoming more conscious than ever that the so-called Jewish problem (like the Muslim problem) is but an epiphenomenon of a deep corruption within the white psyche, which unlike Christendom allowed the emancipation of Jews in the first place right after the French Revolution.

What strikes me the most about self-styled “counter-jihadists” is that they fancy themselves as defenders of the West, when, in reality, through their blind philo-Semitism they’re attacking the West.

Something similar could be said of white nationalists who support the unspiritual, degenerate music that has possessed westerners since the 1960s—what I call Neanderthalism—, as manifested in the following piece, “Is there no end?” that Iranian for Aryans wrote today.

But before reproducing his article let me indulge with a few compasses of music with a solo from a Norwegian fiddle called a Hardinger that represent the spirit of Rohan’s capital and Éowyn, its nymph. A single minute of music composed in our century that, in sharp contrast to rock, I consider inspiring (listen LOTR’s music here from the scene of Éowyn and the Golden Hall of Meduseld.)

 

______ 卐 ______

 

I [Iranian for Aryans] started my first blog back in 2004. One of my first entries was on the topic of non-classical music within the WN [white nationalist] “movement”. I excoriated the “music” and, therefore, did not condone those who listened to it. Today, I’m still of the same opinion. However, I realize now that the poison is deeper and is beloved by those to whom one should look up to, or at least, respect.

One such example is a spate of articles on Counter Currents extolling WN “music”. Basically, the music is a hodge-podge of heavy metal, rock’n’roll, and folksy music. To sum it up, it reeks.

Julian Lee has authored two articles that deal with the topic of the “white singing voice”. His style is insipid and his tenets and conclusions are dubious if not straight-out wrong. He goes through a litany of various White (are they White men at all?) vocal types (crooners, screechers, whatnot). He deconstructs them, he views them as if through a microscope, and then pontificates on them. But these are not the issue.  The problem lies with his espousal of, and love for, non-classical music; for rock “music”. I don’t refer to old-school country and bluegrass. I refer to WN “music” and its non-, or even anti-, WN forbears.

The man goes on and on about this rock “star” and that rock “star”. Enough already! It’s all junk. The godawful, mephitic, aural violations that emanate from what-passes-for-music in his article are not only an embarrassment and a waste of time, but antipodal to a truly uplifted soul that yearns for everything pulchritudinous, elevated, noble, veracious, and supernal.

What’s worse is that Greg Johnson, the editor of Counter Currents, who posts good articles on Mahler and Elgar, in addition to featuring lovely paintings, likes rock’n’roll, and, apparently, dislikes my barrage of antagonistic criticism, so much so, in fact, that I think he’s not publishing it.

I’ve given up on making my point as it has become an ad nauseum issue.

I agree with the mullahs of Iran. Those who promote “Western” music, are, according to the Shia clerics, enemies of God (Truth, Beauty, Enlightenment, Health, and Joy).

If one is in love with the White race, in love with what it has created, then to promote, or let alone, listen to rock, is to spit on the avatar of God.