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In the war on civilization itself, music, like everything else, is “racist.”
One of the significant aspects of the current revolutionary madness sweeping the nation is the unrestrained assault on the cultural artifacts of Western Christian civilization. In effect the attack on monuments and the nomenclature of Army forts, schools and streets, and on so much more is emblematic of something more profound and irreparable, an assault on what those symbols signify.
In a broader sense, this assault portends a basic denial of the richness and nourishing fruits of our culture and what that culture has given us. For that denial goes far beyond visible symbols in copper and granite or in place names. We have seen this in the increasing demands for a Taliban-like “cultural cleansing” of our society. And thus the mounting attacks on our artistic heritage—on those works of art that remind us of what our civilization has created and, indeed, of its bounty, goodness and creativity that have helped fashion who we are as a people.
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The effects are particularly dramatic in performance music. Our musical expression gives voice to our joys, our sadness, our triumphs, our beliefs, and how we view ourselves; it is critical to our understanding of the civilization around us. Yet for decades there has been a constant effort to undermine and reshape that expression to fit a progressivist, post-Marxist mold and agenda. A concentration on race and gender is all-consuming. “Anti-racism” and “feminism” have become the benchmarks for this transformation.
The formerly great universities begin to slash away at the musical heritage of our People.
The University of Oxford is considering scrapping sheet music for being ‘too colonial’ after staff raised concerns about the ‘complicity in white supremacy’ in music curriculums.
Professors are set to reform their music courses to move away from the classic repertoire, which includes the likes of Beethoven and Mozart, in the wake of the Black Lives Matter movement.
Vox Day nailed the lazy academic idiocy behind the push towards savagery: The music teachers don’t want to actually teach music anymore. They want to sit around, play rap, and talk about how racist white people are.” He’s also wisely building a musical channel at UATV. It’s to him and us because the traditional sources will soon SJW themselves into oblivion.
There is a Supremacist element to the highest music, a testament to White European Civilization without equal. It’s just better, superior – as Benedict Beckeld explains:
They hate what they cannot equal, replicate, or even understand. The shame of the situation is that so many nominally on our side – conservatards and libertardians – just can’t grasp the identitarian and cultural implications. Fraudulent elections and ancient scraps of paper will not hold back the log-thumping heathens. Listen up … while you still can.
PERRIN LOVETT 