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?

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.

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