MODERN MUSIC: Where Have All The White Men Gone?

A.V. Schaerffenberg

Monte-Carlo-Philharmonic-Orchestra

Art always tells us the truth about the society that produces it. Even bad art. Especially bad art.

Art is fundamentally the expression of a people’s soul. The quality of art at any particular moment in the development of a nation speaks more about its creators and its audience than volumes of written history. A picture is indeed worth a thousand words, at least. However, art is far more significant than so many colorful paintings or musical sounds. It has an importance beyond aesthetics. It presents far-ranging social implications for the spiritual health of entire civilizations. It is the barometer of a people’s collective sanity. It is the way through which they view and judge their contemporary surroundings. The greatest artists and the worst are essentially alike, in that they reflect the world in which they operate. They cannot help but do otherwise. They “hold the mirror up to life,” just as Hamlet says. But what do Americans see reflected in the mirror held up by today’s artists? We sense a darkly ominous reply to that question.

Before we attempt to answer it, however, let us focus our investigation on a single art form: so-called ‘classical’ or ‘serious’ music. Musical societies flourished in Colonial America. Most of our country’s Founding Fathers were amateur musicians, and some, such as President Jefferson, were quite accomplished. America produced many very fine composers into the 19th Century, but none of world-class status. Ours was still a new culture that needed time to find its own voice. There was also the domination of German music. This is not to be wondered at. Each of our Aryan nationalities excels in at least one particular art that leaves all others behind. For the Gallic temperament, it is painting (Renoir, Monet, Degas, etc.). For the Slavic, ballet (Pavlova, Nijinsky, Nureyev, etc.). The Latin soul generates incomparable art songs (Italy’s Neapolitan, Portugal’s Fado, the Spanish Flamenco, etc.). The Scandinavians are superior wood-carvers. Modern Celtic genius triumphs in the stage plays of Shakespeare, Shaw and Wilde. For Americans, it is literature (Emerson, Thoreau, Poe, etc.). The Germans’ supreme cultural contribution to Western Civilization is (or was) symphonic music. No other nation produced as many top-quality composers, conductors, teachers or performers. American musicians, like their European contemporaries, were heavily influenced by what Richard Wagner called “the music of the future,” because all the developmental problems of what eventually became symphonic music were worked out by the Teutonic masters of the last 300 years.

Great Music, the Exclusive Product of the Aryan Race!

German genius across the generations from Bach and Handel in the 17th Century, to Haydn and Mozart in the 18th, beyond to Beethoven and Bruckner in the 19th, and culminating in the early 20th Century with Richard Strauss, created music with a strong sense of order (Bach’s Toccata & Fugue), (Mozart’s Little Night Music), idealism (Strauss’s A Hero’s Life) and spiritual power (Bruckner’s Symphony #9). These became the aesthetic standards for all great musical composition in the Western World. The true voice of our Aryan instinct found voice in the greatest music ever composed and performed. Yet, their symphonic triumph did not Germanize music in other lands.

On the contrary, it gave a new artistic language to every people through which to voice their own folkish character. If Richard Wagner epitomized the German soul, then Ralph Vaughn Williams did the same for the British people, as did Verdi for the Italians, Grieg for the Norwegians or De Faya for the Spanish. In the music of Poulenc or Satie listeners hear the heartbeat of France, just as they instantly recognize the national personality of Russia in the music of Glinka, Moussorgski or Rimsky-Korsakov. What do these incomparably enriching differences prove, if not that each Aryan nationality is eminently worth preserving as distinct contributions to Western Civilization, and not to be merged into an indistinguishable sameness that is the goal of race-mixers?

As mentioned at the outset, art is inextricable from the times which generate it. At the time this supreme achievement of “music of the future” was reaching its apogee (1880-1914), Germany rose to become a united nation; the British and French Empires attained their greatest extent; Czarist Russia reached its height of cultural magnificence in the Romanov Dynasty’s 300-year history; the United States was emerging as a world power, etc. In other words, Western Civilization was strong, healthy, vigorous, safe, self-confident, and still largely controlled by the Aryan people who built it over the previous centuries. In those days, virtually everyone took White superiority and supremacy for granted as an obvious, self-evident fact of life. Whenever considered, mixing of any kind with non-Whites was universally regarded with horror as the worst personal degradation and immorality suggestive of bestiality. It was from this climate of Aryan racial self-consciousness and racial strength only that the great musical achievements of the past could arise.

How the Jews Overpowered American Music

In the U.S., around the turn of the last century, a uniquely American voice was just beginning to express itself in the symphonic output of Edward McDowell, John Knowles Paine and Charles Tomlinson Griffiths. They and all their colleagues eagerly followed the Germany lead. But in so doing (and thereby honing and perfecting their extraordinary abilities), they were slowly evolving a folkish sound peculiar to the American experience. This healthy, natural development based firmly on the supreme European traditions, although striving to express its own nationality, was dealt a sudden death-blow with the advent of World War I. Everything German was abruptly condemned and anyone showing sympathetic interest in anything from Central Europe was branded a spy or traitor. Mobs sacked German restaurants and curio shops. Americans of German descent, fearful of having their patriotism if not their personal safety compromised, anglicized their names. At New York’s Metropolitan Opera, all German language performances were canceled. In other cities across the U.S., concert halls banned German music, thereby self-sacrificing most of their own repertoire.

German-American professional musicians were sometimes hounded from public performance, such as the outstanding conductor, Karl Muck. Or, out of fear, they became ostentatiously anti-German, like the opera singer, Augustin Schumann-Heink. Niggers wail about the ‘prejudice’ under which they suffered throughout American history, but German-Americans in the first part of this century were not unfamiliar with the phenomenon. As a measure of the madness sweeping America at the time, any hungry customer who “ordered a hamburger instead of a ‘liberty-burger’ was circumspect. Americans, under the hypnotic gaze of a managed public opinion through Jewish control of almost every outlet of information, were taught to despise whatever was German, even in their own history or personal background. This racially suicidal hysteria absolutely derailed the course of American music, because our artists had the foundation of their development knocked out from under them.

But if some felt the pre-war domination by German musicians was too heavy, they were in for a shock when our country was radically transformed under Jewish domination. World War I swept all Gentile American composers into oblivion almost overnight. In their place stood the likes of George Gershwin, the undisputed master of our nation’s musical life throughout the 1920’s. The Aryan spirit, as expressed in German music, had embodied a sense of order, proportion and spiritual striving, while the Jewish soul, as demonstrated by Gershwin’s output, was undisguised vulgarity. He poisoned and cheapened American music by niggerizing it. His opera set the pace for what was to come. The story of a nigger low-life (a spook murders his wife, à la O.J.), entirely performed by coons, set to jig-a-boo jazz written by a Jewish composer for almost entirely Aryan consumption, Porgy and Bess was a landmark in the destruction of American fine art. The undisputed fact that negroes, (although starring in its production) have almost never attended Porgy and Bess, and have shown little or no interest in it, demonstrates that that work was deliberately aimed at eroding racial pride in White people, who overwhelmingly comprise its audiences.

Gershwin’s great contribution toward that intentional demise was not only the racial rot he introduced. He kicked away the Aryan European standards on which American music formerly stood. By doing so, he set the musical stage in the U.S. for forthcoming decades of chaos. With no more standards to concern them, composers were not obliged to suffer under the demanding musical discipline laid down by German teachers. But instead of producing sublime compositions to rival those of their predecessors, the artists spawned by Gershwin’s aptly named ‘lost generation’ produced only tumult. They made no distinction between noise and music, because both are, after all, just sounds.

Better Midori than Heifitz!

It should come as no surprise that the originator of this madness was a man with a name like Arnold Schoenberg, and so greatly admired by Gershwin that the jazz composer painted a personal portrait of his mentor. Schoenberg’s so-called ‘polytonality’ (many tones going in different directions simultaneously) and ‘atonality’ (‘anti-melody’) perverted Western musical composition for almost the rest of the 20th Century, until it, like its political kin in the Soviet Union, eventually collapsed of its own rottenness. If the World War had opened the door to Jewish domination, Franklin Roosevelt’s election to the presidency threw open the floodgates. America’s musical life was gang-raped by mobs of Bernsteins, Blitzsteins and Shapiros. And their numbers over here swelled horribly when Adolf Hitler began to sanitize Germany. The sounds these creatures scratched out dug deeper the grave for American culture. Typically neurotic, very often overtly Communist, their work ran the gamut from the trivial to the repellent.

Among the most performed of this period was Aaron Copeland, the termite-faced scribbler of mostly comprehensible but bland music he had the effrontery to palm off as “characteristic of the American folk-sound.” In fact, he only cooked up one composition, his annoyingly redundant Appalachian Spring, which he reprised over and over again under different titles. Even this work relied so heavily on genuine American folk melodies that its existence would not have been possible without them. Long before the likes of Copeland, a real musician and one of the very greatest, Franz Liszt, nailed Jewish composers as “unoriginal and imitative.” He was right, because the Jews have never produced anything original, relying ever and always for the host nation upon whom they fasten for cultural scraps from the masters’ worktable. It is not without reason that the Jews refer to themselves as a ‘mosaic people,’ taking what fragments, discarded or stolen, they can, like the scavengers they have always been. As though in revenge for the Gentile composer’s anti-Jew honesty in the century before, Pauline Alpert was infamous in the 1920’s for desecrating his Hungarian Rhapsody with a jazz-piano rendition.

The huge influx into the U.S. of Jews deloused from the Third Reich resulted in their absolute domination of America’s musical life. Today, as anyone who listens to an FM ‘fine arts’ radio station knows, the majority of professional performers are Jewish: Barenboim, Pearlman, Ashkanazy, Solti – a recitation of their many and familiar names is a tedious exercise that only confirms the obvious. An immediate consequence of our Jewized art scene is a general lowering of quality concert performances. While no one doubts the average competence of these kosher pianists, violinists or conductors, none among them begin to approach the real genius of a Furtwaengler, a Rachmaninoff or a Kreisler. In effect, just about any students with even mediocre talent, if they have the money to be schooled for years by the best (i.e., most expensive) teachers, could do at least as well as the overrated Jewish performers.

But the Jews have rotted out American music for so many decades that even they are now being ousted by the very miscegenating forces unleashed by their fellow Gershwinites. As our society becomes ever more ‘multi-cultural’ (a newspeak word for ‘race-mixed’), the non-White floodtide is inundating Jew and Aryan alike, as shown by the growing number of Asian performers. The trickle of Oriental artists beginning with that paragon of mediocrity, Seiji Ozawa, soon broadened into a spate with the likes of Yo-Yo-Ma, Kim Wa Chung, etc. To be fair, these Asian performers are not to be blamed for a situation they did not create and represent an improvement of sorts, because they are just filling the vast, empty space left when the Jews gutted serious music of its Aryan creators. Better a Midori than a Heifitz, anytime! And while Asian artists may never attain the heights of a Chopin or a Mengelberg, they generally lack the racial animosity toward Western composers felt by Jews and niggers. And Asian performances, perhaps not consistently inspiring, are almost always faithful to the composers’ intentions, thereby preserving our art from Jewish putrefaction.

Who Needs Beethoven When You’ve Got Scott Joplin?

Nevertheless, today’s audiences are presented with the insane racial anomaly of music written by Aryan composers, led by Jewish conductors and recreated by Asian players. Of course, it would be asking the impossible of these racial aliens to interpret the real core-meaning of any Aryan composition. Consequently, their performances of our music are usually technically adequate and mechanically competent, but bland and unmemorable, as though they were recreated by a computer. The domination of Jewish music by Aryan, especially German performers, would be both ludicrous and incredible. And would the Chinese be upset if suddenly they found a preponderance of ‘round-eyed-devils’ heralded as the best performers of Chinese music? Yet, nobody thinks it strange that Jewish and Asian performers dominate Western Civilization’s musical repertoire.

The Jews themselves are keenly aware of this preposterous contrast, and are therefore taking measures to deprive us of even our musical heritage. Until the 1920’s, the leadership of America’s musical life was entirely in the skilled hands of our White forebears. To justify the Jews’ modern predominance, they dredged up from the past as many non-Aryan musicians as they could find. There were precious few. The first one they stumbled upon was the New Orleans Jew, Louis Moreau Gottschalk, a transparently bush-league composer by anyone’s standards, who made zero-impact on the mid-19th Century in which he lived. But his compositions were the first of their kind, in that they attempted to popularize nigger tunes for the White folks, once again showing the inherent Jewish predilection to race-mix their Gentile host. Despite efforts by the Chosen Ones and their chosen goyische puppets, Gottschalk’s compositions have not caught on with the general public.

Slightly more successful was their promotion of Scott Joplin, a turn-of-the-century spook who entertained at a whorehouse, where he accompanied staff and clients with his beat-up piano. Although generally and erroneously touted as the inventor of ‘rag-time’, Joplin was virtually unknown during his lifetime and lapsed into total obscurity immediately after his death from syphilis. Despite this and the fact that he was only a very minor composer of popular music, some of the biggest Jews in classical music, such as James Levine and Itzhak Pearlman, vigorously promoted his thoroughly dated ‘rags’ at every opportunity. There is reason to believe Joplin would be far from happy with his kosher promoters, given the neurotically fast pace at which they invariably perform his music. The cathouse composer was known for insisting that “rag must be played very slowly. Operating under the assumption that if one throws enough muck at least some of it will stick, the Itzhaks who dominate American music forced a brief vogue for Joplin’s insignificant compositions during the 1970s. Even a feature film of the period, The Sting, featured some innocuous pieces by the otherwise forgotten coon. The artificial media-hype concocted for him by his Jewish promoters fizzled out before the end of the decade, and he began sliding back into the well-deserved oblivion from which he had been dragged to historically argue their case for a ‘multi-cultural’ America.

That, of course, was the ulterior and real motive for resurrecting the memories of Gottschalk and Joplin; namely, to undermine the Aryan foundations upon which Western music stands. Totally and intentionally overlooked is the plain fact that everything musical – from the symphonic form itself and the very instruments they play upon, even to the notation system and the recording processes that preserve their performances – were entirely the result of the White Man’s genius. Neither blacks nor Jews (nor Asians, for that matter) built the musical world created by the likes of Bach and Beethoven. That world is an exclusively Aryan affair, and its domination by genetic aliens hostile to the race who made it will not preserve it, but can only result in its distortion and inevitable demise.

A Musical Holocaust

For example, a Jewish music critic for Time magazine wrote a few years ago that whenever he heard Bruckner’s 8th Symphony, all he could think about were “the smoking chimneys of Auschwitz,” even though the work had been composed nearly 50 years before World War II. The famous fiddler, Isaac Stern, once remarked that he played the Brahms violin concerto “with tears in my eyes for the victims of the Holocaust.” No one should be astonished, then, if the great music of Western Civilization in the hands of these gentlemen has been changed to suit their own purposes and mentality from the original intentions of its Aryan composers.

As in everything else the Jews touch, the creation of original American musical scores declined through various stages of decay toward its ultimate demise. It began with Gershwin’s negrified compositions in the 1920’s, then spread with the atonality of Irving Fine and his fellow Schoenberg frauds through the 1930’s over the next forty years. As mentioned earlier, art is a barometer of the society that produces it. So, too, the cheap frenzy of Gershwin was a direct result of the fratricidal World War, which shattered Western strength, just as Schoenberg’s anti-music could only have mushroomed from the cultural compost heap that was Weimar Germany. By the 1970’s, the Jewish virus coursing through modern music had run its course and in fact died under the stubborn refusal of American audiences to accept it. This mass-rejection of their putrid output enraged Jew composers and critics alike, who railed against Gentile unwillingness to embrace ‘American’ compositions. Hebrew works were announced with noisy hoopla. But after their premiers, they usually vanished forever, unable to take root in the consciousness of a people to whom such composers and their bizarre products were genetically and spiritually alien.

Even today, Jewish conductors and their managerial lackeys contrive to lure reluctant audiences by scheduling reliably favorite music by Aryan composers on the same concert program with some abhorred kosher monstrosity. A case in point was a recent performance by the Minnesota Orchestra (Japanese conductor, Eiji Oue, director), which began with Beethoven’s 9th Symphony and concluded with something called The Jeremiah Symphonyby Leonard Bernstein. There was not one untaken seat in the great hall when Beethoven was played and wildly cheered. But during the intermission that followed, a mass-exodus occurred that substantially reduced the size of the audience. Those hardy concert-goers who endured the Jew’s uneven patchwork of alternating bombast and quivering paranoia applauded more dutifully than enthusiastically at its long-awaited conclusion. Theater managers learned years ago that programs devoted entirely to music by modern artists meant financial disaster at the box office. People stay away in droves. The only way to get something of a hearing for contemporary composers is to bait the program with established Aryan music. Even so, audiences seldom stay for the new compositions, which bore and annoy them. Actually, the uninspired, uninspiring Jews hurt themselves by juxtaposing their feeble compositions with real music. Contrasting Bernstein with Beethoven is no contest for the poor Jew!

For example, I attended a concert last autumn when Mozart’s Symphony No. 25 was performed before the third symphony of Aaron Copeland. During the Mozart, the audience scarcely seemed to breathe, in absolutely rapt attention. I furtively glanced around at the facial expressions on people in the audience. They were all in altered states of consciousness, euphorically drugged by the narcotic of musical perfection. For some long moments after the final chord faded away, a collective silence prevailed, as though the audience of thousands were savoring the experience. Then burst thunderous applause loud and long enough for Wolfgang to hear in heaven. What a contrast with the Jew’s music that followed!

What Mozart achieved with about twenty instrumentalists, Copeland could not approximate with a battalion of more than a hundred players who crowded on stage. At first, the audience sat grimly dismayed upon being blasted with the awkwardly balanced harmonies that added up to one, big disharmony for the next 40 minutes. During that time, the same audience which had revered Mozart earlier began twitching nervously and staring around at the architecture of the hall. I saw several persons reading their program notes by bending down to the aisle lights, trying to figure out what was going on. Others, unable to endure any more, just walked out. Then the ultimate insult: People started talking among themselves during the performance. Behavior that would have aroused the ire of others in the audience while Mozart was being played, seemed to bother nobody for the duration of Copeland. At least no one fell asleep, which, in any case would have been impossible, given the outbursts of disjointed sound the orchestra, transformed by the Jew into some kind of flatulent beast, let loose from time to time without warning.

Through a Glass Darkly

Twenty years ago, ‘modern American’ composition died of exhaustion without a single atonal fanfare. But onto the fresh grave of polytonality danced the founder of an entirely different kind of written music, Phillip Glass. Another one of the tribe, he was all the rage from the 1970’s to the mid-1980’s with his ‘minimalism,’ the logical result of all that had gone before. It was, in effect, musical nihilism, during which a single, very simple phrase (or fragment of a phrase) was subjected to a mesmerizing, endless loop of repetitions. As a Gentile musician once defined it, “minimalism is the kind of music that gives a minimum amount of enjoyment at the maximum cost to the listener.” Like all fashions grown from the “if you can’t be good, be different’ school of thought, Jew Glass’s ‘minimalism’ soon ended in the paper-shredder of history. But it did represent the last attempt undertaken by the Jews to foist their peculiar notions of ‘serious music’ on a public bemused by decades of impermanent compositions as incomprehensible as they were unpleasant.

If you might expect nothing to come from nihilism, you would be right. There are no American composers today. Having toppled the Aryan standards upon which Western music had been carefully constructed, the Jews utterly destroyed in less than seventy years what the world’s greatest composers had taken centuries to create. But it is said that ‘nature abhors a vacuum,’ and there are signs of Aryan-American resistance and renaissance. In fact, from the very beginning of the Jewish onslaught against our culture, Charles Tomlinson Griffiths, while prevented from composing as his German teachers had inspired him, defied Gershwin’s lead and took up where the Aryan impressionists and post-impressionists of Debussy and Ravel had left off. Some of his later compositions were his best and he began to arouse general public interest before his untimely death. But the auto-horns blaring throughout An American in Paris silenced his achievements, still largely unknown today. Shamefully, his name does not even appear in most encyclopedias of music.

The compositional skills of the great Gershwin himself were inadequate to orchestrate his own Rhapsody in Blue. The job had to be done by a Gentile steeped in the Germanic tradition, Ferde Grofé, who is never credited for scoring the piece. Grofé, too, bucked the Jewish current by evolving a genuinely American character for contemporary music. If not the first to do so, he was certainly among the very earliest composers to tap into our folkish soul. His Grand Canyon Suite was a lone ray of blazing light in an otherwise impenetrable darkness of Jewish ‘experimentation,’ whose orchestrated caterwauling never began to approximate the wildly popular success Grofé achieved. It was, in truth, this representational work’s broad and enduring acceptance that put to shame all the Jews’ worthless ‘modernism,’ which never found general acceptance. It is not surprising that the Grand Canyon Suite was sniped at by envious Jewish critics, who denigrated the masterpiece as “obsolete” and “out of step with the times.” Three generations of concert-goers do not agree and continue to applaud Groffé’s perennial tone-poem, while ignoring all the chic freaks so enamored by the kosher critics. But they have not been without their revenge, as Grofé’s many other wonderful compositions are virtually unheard today.

Grofé was not alone, however. In the 1940’s, Randall Thompson’s 1st Symphony was unlike anything composed in Europe but mercifully free from Jewish affectation and degeneracy, while Virgil Thompson (no relation to Randall) wrote The Nordic Symphony, thereby calling upon the inspiration of our racial origins. The following decade, Gian Carlo Menotti’s eminently melodious Amahl and the Night Visitors was the first (and, so far as I have been able to determine, only) made-for-television opera. Samuel Barber’s Essays for Orchestra were not only singularly American, but dramatically advanced the logical development of the symphony beyond its Germanic origins. Meanwhile, Jewish composers did not participate in this on-going evolution of Western music. They were too busy trying to subvert it with nigger tunes and anti-harmony. But they were and still are in positions of supreme dominance over the arts, from which they naturally promote their fellow Jews over recalcitrant Gentile composers. Hence, Aryan American geniuses, from William Billings of Colonial days to Henry Cowell’s superb fashioning of traditional American hymns nearly 200 years later, are unknown to the general public, from whom they have been cut off by the more famous names and compositions of Copeland, Bernstein, Gershwin and other persistent musical no-accounts of the same tribe.

White Culture is Politically Incorrect!

Critics lament today the demise of modern American music, a situation they blame on musicians reluctant to perform Jew-trash before consistently unsympathetic audiences. In their frustration, the same critics condemn the standard repertoire of Beethoven, Schubert, Brahms, etc., as obsolete impediments standing in the way of new music. Several radio commentators have actually suggested that the music of the old masters should be systematically driven from America’s concert halls, thereby forcing audiences to come to terms with modern compositions, like them or not. This cultural Bolshevism was honestly articulated recently by the concerned sponsor of a New York fine arts radio station. He said that the standard repertoire embodied the height of political incorrectness and should be “modified to fit current norms, because its composers were all White males, mostly Germans.” He added that many were “racist, homo-phobic,” and, yes, even (get set to rend your garments) anti-Jewish! “The music of such artists from another time has nothing to say to our multi-cultural democracy,” he rightly concluded. After all, why should members of lower races who bear a persistent grudge against Western Civilization have to listen to our music?

While the Jews undoubtedly relish the prospect of burning all the scores of Wagner and every other Gentile composer, they are torn by their obsession for the vast ticket revenues performances of the wicked goyim’s music still net them. Moreover, by having non-Aryan performers, particularly niggers, lay their hands on such music, the Jews vicariously enjoy a kind of spiritual rape of Western Civilization they have despised for so many centuries. As the most politically conscious creature in the world, the Jew’s ownership of classical music means he may use it as a propaganda weapon to diminish our racial pride and sense of Aryan identity with our own culture. Every time he allows a non-White to perform Aryan music, we are another step further removed from our heritage. And any people without feeling for a culture that is entirely their own is vulnerable to manipulation, exploitation and slavery at the hands of those who alienated them from their origins.

The danger is quite real and historical parallels warn us of what lies ahead for America and the West. The entire music of the Ancient World, an enormous body of creativity accumulated for more than 3,000 years, was completely destroyed with the fall of Classical Civilization. All the music of Pharaonic Egypt, Hellenic Greece (where the same principles of composition still used today were invented) and Imperial Rome, was lost forever, a consequence of the racially-spawned political crises which toppled them. Some of their stonework may still be seen, but not a single note of music from these once-splendid civilizations survives. No doubt, there once lived an Egyptian equivalent to Bach, a Greek Wagner and a Roman Beethoven. So thorough was the demise of their societies, however, that not even their names, let alone their music, have come down to us. Civilization is more fragile than we may imagine, and we Americans have no right to assume that our civilization is immune from the same internal forces that brought down the Classical World. If we continue merrily along the path laid out for us by the Jews, we will end up in the same garbage dump prepared for our ancestors. Then the names and masterpieces of every Aryan composer from Palestrina to Prokofieff will just as surely be expunged for all future generations. What a pitiful heritage we would leave to our descendants!

The Coming ‘New Age’ of National Socialism

Bleak as the future of Western music does indeed appear, there is a faint light of hope on the horizon. The Aryan reaction against Jewish degeneration which began with Charles Tomlinson Griffiths continues today in a gray area of composition between Serious and Popular music. This is the so-called ‘New Age’ music, whose mostly Aryan creators, beginning about 15 years ago, sought out a genuine spiritual alternative. Former ‘rock stars,’ like New Zealand’s Jon Mark, turned their backs on the shallowness of contemporary culture and tried to develop a futuristic vision based on old European origins. A successful example is Mark’s 1988 compact disk, The Standing Stones of Callanish. Taking both its title and inspiration from a pre-historic, megalithic sacred site in the Scottish Hebrides, he combines modern instrumentation (electronic synthesizer) with traditional melodic composition. The result is something altogether new and accessibly familiar at the same time.

Another New Age performer who has achieved an international following is Enya, a Scottish singer-composer with a strong emphasis on her Celtic origins. Like Jon Mark, she uses a synthesizer, but blends it with standard instrumentation. Some of her evocative titles are ‘Bard Dance,’ ‘Epona’ (Britain’s pre-historic equestrian goddess) and ‘March of the Celts.’ This is not to suggest that every New Age artist performs music beloved by National Socialists. The New Age, too, has its share of Jews who smell a profit among anything innovative, while militant race-mixers are trying to foist synthesized Afro and Injun rhythms on honest listeners in search of meaningful options to Jewized modernism. Nevertheless, a strong under-current of Aryan racial feeling courses through New Age music, whose creators and audience are largely White. If nothing else, the New Age proves that the blood instincts of our people as a whole and our youth in particular are still essentially intact, despite everything the Jews have done for the last seventy years to subvert us. There is certainly hope in that recognition.

American music will never recover from its downward slide into extinction so long as the Jews maintain their death-grip on our culture. Yet, their worlds of failed Communism and poisoned cultures are falling apart. Who knows what opportunities for Aryan revival and White victory we may find in their ruins!

SOURCE: Liberty Bell, February 1998

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