“Give me the Old Right!”

I have told to myself in hundreds of soliloquies that white nationalists just cannot have it both ways. They cannot love pop music (which must not be confused with the legitimate folkloric music of the diverse western nations) and classical music at the same time. I have told myself in hundreds of self-conversations that that is like, say, for Captain Georg von Trapp trying to raise a traditional family while, at the same time, indulging himself in secret escapades to gay clubs (something that, of course, never happened in either the 1959 musical or the famous 1965 film, The Sound of Music).

The following are excerpts of some of the recent posts by a blogger known as Roger at Iranian for Aryans’ blogsite. (Warning: James O’Meara must never be confused with another contributor of Counter-Currents Publishing, Michael O’Meara).




Iranian for Aryans said:

It is with much felicity that I welcome Roger to this website. He has commented, in both a virile and eloquent manner, on this site with a sure knowledge of Western music. Perhaps more importantly, he has shown a dogmatic aversion to that which parades—and is paraded—as Western music (e.g., rock, hard rock, heavy metal, et al) in White Nationalist circles.

My wish is to provide a niche here, on this website, for those who are appalled, aghast, and disgusted by the asininity, vacuity, loathsomeness, and degeneracy of that which is promoted as a current and past manifestation of Western Culture by the ignoramuses of the “Right Wing”.

Thus, prepare yourselves for a hateful passion (!) towards all ugly music that has corrupted, and continues to corrupt, Western peoples and is promoted by the know-nothings of the “(bowel) movement” as part of “real” Western heritage.

Roger said…

[James] O’Meara seems to have two primary objectives: to promote homosexuality and to promote degenerate music, both under the banner of “traditionalism”. These are the two recurring leitmotifs in his articles. Greg Johnson and Michael Polignano are evidently sympathetic to his crusade, or else they would not have published a compendium of his articles in book form. That aside, here is a slight elaboration of the earlier points […].

Then we have his false claim that Berg and Webern were Jews. Dodecaphonic serialism was invented by a Jew, but serious websites should not be pretending that the Second Viennese School was a wholly Jewish affair. It wasn’t. The collaboration of goyim should not be glossed over; instead, the enthusiasm of Berg and Webern for Schoenberg’s new music should be emphasised, because it is similar to the promotion of degenerate music by some white nationalists.

Far from being a great critic of the Viennese serialists, O’Meara shares their active scorn for the “bourgeois” Western tradition and seeks an alternative to it. He thinks himself clever for criticising the twelve-tone tuning system, but he does not provide us with any convincing reason to oppose it, nor does he justify his assertion that “the possibilities of expression are defective” in the Western tonal system (this assertion is self-evidently fatuous to anyone with a rudimentary knowledge of the Western canon). I’m not sure what it is that separates his ideal world of “pitiless hordes of adolescent warriors in rainbow thongs” from the grotty cabarets of the Weimar Republic.

If he cannot get basic facts straight, he should not be pontificating to us about music—especially if the primary source of his diatribe against Western music is Alain Daniélou, a homosexual who rejected Western civilisation in favour of Indian Hinduism.

O’Meara would know all about that, being a homosexual himself. If this is what the “New Right” is all about, give me the Old Right!

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.

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.

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:

Éowyn and the Golden Hall of Meduseld

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.

Why do nationalists support non-classical music?

Further to my previous post on Neanderthalesque music. The blogger known as Iranian for Aryans has just responded in that thread including the following points.

These are my views on the subject:

1. If you support non-classical music you’re suspect.

2. Those who say they “like” classical music are disingenuous, for the most part, since they don’t listen to it.

3. Burzum and the other [Black Metal] groups are abominable.

4. If society loses its original and healthy musical heritage, it cannot use something sick, demented, and ugly to revivify itself. The latter is too ugly and evil. Why not go back to the Masters? They are assured of being sane, beautiful, and progressive.

Thank you for putting our views so succinctly. These are my very personal views:

He who dances classical ballet can dance everything, even if he loathes a specific dancing genre. Similarly, he who can understand the most abstract forms of classical music can understand every music genre, even if he loathes a specific genre.

As I said in the previous post, music has been my native language. I understood atonal Ligeti at the age of ten. So let me be a little arrogant for a moment.

Analogously to those people who have an unusual development of the sense of olfaction to the point of “smelling” human moods—or so they claim—, I believe I can “decode” the moods of all musical genres, however disgusting I find some of their tantrums, and therefore the genre, that they represent. On the basis of this intuitive and unheard of psychological knowledge, the following is my interpretation of black metal.

Since the late 1960’s I interpreted rock as a “psychorragic” manifestation of an extremely pissed off generation with regard to their parents’ traditional, and often engulfing, culture. Like heavy rock, I feel that the black metal promoted by notable white nationalists is but the acting out of anti-traditional, anti-Christian sentiments among its fans.

Don’t take me wrong. Psychorragic rebellion is good. There’s nothing wrong with volcanic eruptions of rage after one’s own dignity has been crushed by the surrounding culture. However, if instead of using that sickening music to vent their legit rage the metalheads wrote books like my Whispering Leaves, where I expose both my parents and their abusive culture—cf. my blog Fallen Leaves—, the psychorrage would be healthy, controlled and genuinely artistic. But since the metalheads’ musical reaction only conveys unprocessed trauma, I’d dare to claim that it collides with psychopathology (for my explanation of unhealthy rage in contrast to my healthy rage see e.g., here).

Of course: those whose mother tongue was not classical music won’t be able to “read” the psychological whys of those headbangers who enjoy emphatic beats, amplified distortion and especially deafening loudness. But shouln’t the fact that their music so patently damages our hearing be enough for white nationalists of sound mind to see the genre for what it is?

A manifestation of an inner degenerated state

“Tell me which music you like
and I’ll tell you who you are”

Yesterday at a Counter-Currents discussion about music (here) my friend—

Pat Hannagan answered me:

Those “old” folkloric songs in Covington’s podcasts are the songs sung by a people who held their culture together, and successfully won their independence against an invading tyrant. My kids love them instinctively…

I replied (slightly edited):

Pat: I wholeheartedly agree with you. You know, I said that my father used to be a composer. But he abandoned composing classical music when he had to earn a buck. He taught music to children and his mantra is that folk songs are paramount for the spirit of a culture. Yes: there’s a gulf between legit folk music and what I call “Neanderthal music”: the music for whiggers, niggers, and beaners (the mexicans).

Nonetheless, when I wrote my above posts I was in soliloquy mood. To put it simply, I am stirred when I listen some music of Wagner (e.g., Parsifal), which means that musically I’m closer to the Third Reich than to the coming Northwest Republic. I simply cannot feel American folk music because Lot has no nation, and no folk music can stir the stateless individual.

In another CC thread I said that the music I most identify with is the atonal Lux Aeterna by Ligeti, especially the compasses that Kubrick chose for the scenes of desolate moon landscapes with a floating bus en-route from Clavius to Tycho. Why that cinematic vision expressing the most extreme form of solitude describes me? Because that’s the way Lot feels in Gomorrah: There’s, literally, nobody around: not even the blue sky visible in central Antarctica. (However desolate among the ice, the lone scientist in his post at least sees the blue color of the sky, meaning that there must be oxygen somewhere out there on the planet—plants, life.) In contrast, in 2001’s moon landscapes there’s not even that: only a black sky and, without atmosphere, no shades: only black and white abyssal desolation among a world of elemental rock:

These are some of the previous comments in that thread (again, slightly edited). Strongly criticizing pop music, including rock, heavy metal screamers, etc., promoted at Counter Currents—

Iranian for Aryans said:

Allow me to dissent. Though the general tenor (ha ha!) of the piece (ha ha!) is salubrious, it shows a ignorance towards European music heritage. Allow me to explain.

Yes, there is a difference between “black singing” and “white singing”. Yes, the media promotes that which is bad, to put it weakly. However, the examples cited of what is good are lacking and wholly degenerated.

There is no mention of real singing as exemplified through classical music. Rather, examples are shared of Nat King Cole, Sinatra, and some other nugatory folksy personages. Personally, I think Sinatra and Cole were horrid. Real examples of singers would be Franco Corelli, Anna Moffo (mamma mia!), Renata Tebaldi, Caballe, del Monaco, di Stefano, Giacomini, Siepi, Schwartzkopf, Ludwig, Melchior, et al. These persons are our vocal stars. They might have been ugly and fat, but they were true singers, artists of the highest order. Roy Orbison? Good God…! As for the hackneyed reference to Beethoven, I’ll make a wager.

People, white people, WNs [white nationalists], can make references to classical music as much as they want, but the majority, overwhelmingly so, do not live classical music, their heritage. Do they turn on the classical radio station and listen to Haydn or Schumann? When speaking of the voice, do they go crazy over Schubert’s Die Schone Mullerin? Of course not. The espousal of amity towards classical music is disingenuous and a trite tip of the hat to “that which was”, and, as far as most are concerned, no longer is, thank God. Empty signs of respect are worthless: do you live the music? Who wants to listen to Ockeghem when there’s Prussian Blue?

Another example of ignorance of classical music is the citation of Warlock. Warlock, best known for his Capriol Suite, is a big nothing. The world expects novelty and uniqueness, even if framed in a conservative mould, from a composer. Given that Warlock’s magnum opus is a collection of Elizabethan tunes, I can’t place him as a luminary.

CC proclaims a “New Right”. Let’s proclaim it through music. Let’s open up readers to the Western musical heritage: Bruckner, Josquin, Schumann, Handel, Brahms, Vivaldi, et al.

I said:

Iranian: As much as I like WNists I feel an insurmountable abyss with them every time I learn in threads like this that they like rock, heavy metal or even old folkloric—as in Covington’s podcasts—music. This is because I learnt classical music before I was born—literally, since my mother used to be a piano concertista and throughout her pregnancy I sensed and listened the piano through my mother’s womb. And my father was a composer of classical music (when I was a small child some of my dad’s orchestral pieces were played in New York).

My first love, still as a small child of five, was Mussorgsky. Alas, musically and sexually, in today’s culture I feel like Lot in Gomorrah.

I hate monkey music as much as I hate degenerate sexual mores that are driving our race straight to the path of extinction. In fact, like Hegel I believe that if music represents the Geist then the degeneracy we see every day on the streets, TV and Hollywood is faithfully represented in the spirit of that music. For example, the Neanderthal spirit I see every day among the beaners is faithfully represented in their salsa antimusic.

I don’t know if “billions will die”, including the beaners, during the coming convergence of catastrophes (though like Lot I wish their cities burn under Heaven’s fire). But my educated guess is that, after the end of the world as we know it, there will be a resurgence of traditional sexual mores and, with it, a thoroughgoing repudiation of both violent and perverted Hollywood along with all pop music after the 1960s that “sound like demons trying to cough-up the world’s biggest hair ball”.

Iranian for Aryans said:

Chechar,

I sympathize with your feeling of alienation. I live with it and am reminded of it ubiquitously. I think your analogy of Lot in Gomorrah is good.

The monkey music (black and “white”, rap and rock, respectively) that we both loathe has become a manifestation of an inner degenerated state. But to see WNs, the so-called enlightened ones, purvey such excrescences is truly troubling and indicative of a much lowered state.


Update of November 23:

Today Counter-Currents published still another article on music. I wrote (slightly edited):

In the other recent CC thread about music, Iranian for Aryans said:

The espousal of amity towards classical music [in the CC article] is disingenuous and a trite tip of the hat to “that which was”, and, as far as most are concerned, no longer is, thank God.

This is exactly what Christopher Pankhurst has done in the above article (here). Pankhurst is confusing Christendom—which is dying and will finally die later in the century—with orchestral music. I would claim that, unlike Burzum, the Black Metal abomination featured in his article (what a blasphemy putting it together with Strauss’ Metamorphosen!), orchestral music has a bright future once the West awakens from its dormition.

The great musical tradition that reached a high watermark with Bach, and that subsequently sought expression through the individual genius of Beethoven and Schubert, had its funeral song in Strauss’ Metamorphosen.

False. Tragically false. Even Pankhurst concedes that after the World Wars Ligeti created numinous pieces of music.

My father also composed good pieces of music before he had to make a living through music education for children. In a more healthy culture he wouldn’t have faced economic need. Instead, he could’ve devoted all of his energies in continuing to compose (at the Utica Observer-Dispatch, in 1962 Chuck Booth wrote about my father’s symphonic piece Estirpes played in New York). Alas, since the whole West is in dormition, the only way that a composer of classical music can make a good living is thru soundtracks. But even in this lesser genre one can listen that orchestral music has not experienced the funeral claimed by Pankhurst.

Of the eight Harry Potter films only one, the third of the series, was superbly directed. John Williams’ music during Buckbeak’s flight and the werewolf transformation scene are examples of good orchestral music composed in the 21st century. One can imagine how far could the likes of Williams had gone if, in a non-dormition culture, they could devote all of their time composing pure music outside Hollywood. But even in Hollywood once in a while some soundtracks represent the most exquisite form of musical art. Don’t you remember how in 1968 Kubrick used Khachaturian’s most elegiac piece, Gayane Ballet Suite, when the spaceship Discovery One is bound for Jupiter?

Every time I hear stuff like paying lip service to Classical Music and at the same time promoting abominations like Heavy Metal, I cannot but compare the situation with a so-called white nationalist woman boasting a T-shirt telling us, “I had an abortion” without apparently noticing the contradiction in both statements. But again, only after the West collapses and awakens from its dormition—a cultural nightmare actually—will it be all too clear that most pop music during the interregnum was but a manifestation of an inner degenerated state, even among the white nationalists.