If it’s impossible to surpass classical composition, then the next best thing might be to use it or its instrumentation to have fun with rock. That’s what lovely Gamazda does. These guys too:
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.
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.
The following list is unchanged from 2019 and will be the final edition of this series. I’m moving on from popular culture, especially the materialistic, the hedonistic, and the (even partially) occult. It is, somewhat to my dismay, not 1982 anymore. Looking around, even as to “kids’ activities,” we simply cannot continue to ameliorate darkness. Still, some of these songs are good, great even. Enjoy for what it is. Happy All Saints Eve and All Saints Day, in advance.
Note: some of these links may have been disabled or changed. Sorry. Think of it as a suggestion list if nothing else.
Werewolves of London, Warren Zevon, 1978.
Werewolves, Alternate Take, Zevon, 2007 Release. I know more than a few people don’t like this version. Then again, more than a few people can be wrong. Cool, jazzy, and you always have the ability to listen to the damned original…
Long Cool Woman, The Hollies, 1971. No Halloween, per se, but fits with:
Devil Woman, Cliff Richard, 1976.
Evil Woman, ELO, 1975. All these women…
Witchy Woman, The Eagles, 1972. More women…
Self Control, Laura Branigan version, RIP, beautiful, 1984. The best-looking artist on the list.
Legend of Wooley Swamp, Charlie Daniels Band, 1980. Lucius Clay approves.
David Pumpkins – Elevator Skit, SNL and Tom Hanks, 2016. Not a song. Just funny.
Monster Mash, Misfits, 1997. Yeah, I have trouble understanding the words too.
Mash, Original, Bobby Pickett (with Dick Clark), 1962. Classic; those facial expressions.
Dragula, Rob Zombie, 1998. Burn through ’em.
Thriller (Full), Michael Jackson, 1982. Before we knew the real MJ (RIP) horrors. With commentary from Price (RIP).
Poison, Alice Cooper, 1989. A few Cooper songs I could have gone with; I chose this one.
House of Fire, Cooper, 1989. And this one.
Ghost Riders in the Sky, Johnny Cash’s Version, 1979. Scary with a message.
The Time Warp, RHPS Version, Richard O’Brien, 1974. No need to suffer a theater full of freaks. (They still do that?) You’re welcome.
Sweet Transvestite, RHPS Version, Tim Curry, 1974. Probably the only trans-friendly post I’ll ever make.
Blue Moon, The Marcels, 1961. Shout if you know why I included this one.
The Zoo, Scorpions, 1980. Why not?
Nightmare on My Street,
DJ Jaz Will Smith, 1988. Just remembered this one!
Pet Sematary, The Ramones, 1989. My personal favorite – possibly tied with Werewolves.
Sematary, Last Live Show, 1996. You don’t know this…
Stranger in Town, Extended Studio, Toto, 1984. Is your hero a criminal?
Uprising, Sabaton, 2010. Scary history. Great gym song!
Dr. Demento Halloween Special, Demento, Westwood One, 1986. Hour and a half of crazy.
Little Red Riding Hood, Sam The Sham & The Pharaohs, 1966. For the g-g-g-generation.
Swamp Witch, Jim Stafford, 1974. Wonder if she knew Lucious?
Purple People Eater, Sheb Worley, 1958. Currently seeking the DNC nomination…
Ghostbusters, Ray Parker, Jr., 1984. Can’t believe I didn’t have this one earlier.
Here Comes Santa Claus, Gene Autry, 1947. Oops. Too early – for another week or two…
Have a great All Saints Eve!
The cigar-chomping, government-bashing, culture-questioning madness shall resume soon. Oh, curious about how Tom Ironsides spent a Halloween evening in 2018? Check out Chapter Ten of The Substitute.
PERRIN’S Music Minute!
-Or, As Musical As We Can Get The National Affairs-
Warning! This one may wander all over the place like a glaucomic old man ensconced behind the wheel of a gracefully-aging Fleetwood. Feel free to sing along.
So! One thing led to another and last week I came across a superb edition, extended and rare, of a 1983 Berlin song. Thinking about it now, I can’t ever remember hearing Masquerade played on the radio (if it happened, it was campus rock radio back in ‘83); still, for my money, it’s some of the band’s best work, perhaps my favorite. For those who either remember or who never knew, please click that link and listen. The magnificent intersection of new wave and rock comes in hard around 6:19 with a rolling, pounding guitar riff which mingles perfectly with the lasting general melody, which itself is upbeat if thought-provoking – bordering on somber at intervals. (Note: MB actually plays and understands the music, PL merely rambles…)
The tune is-
Oh yeah, and Terri Nunn is forever HAWT!
The tune is about, so far as I can tell, the shattered dreams and hopes of aging or failed actors of the screen or the stage. The business, regarded with suspicion since ancient times, has a reputation for being rather harsh on potential talent. The lyrics speak to that darker side of entertainment, hauntingly and beautifully. The refrain is what landed the song at TPC this week:
When you hear the price they paid,
I’m sure you’ll come and join the masquerade…
I’m no expert, but I take that to mean that, despite everyone knowing how Hollywood, Broadway, etc. chew people up like hor d’oeuvres at a Harvey Weinstein party, people still keep patronizing the shows, with many intrepidly venturing into the fray, hopeful of professional success.
And, that is exactly the same kind of circus spectacle we witnessed in Iowa last week with the 2020 Hawkeye Cauc-eye: those zany Democrats and their presidential show. With my only paying nominal attention to practical politics and with November’s outcome being as clear as the recent Impeachment trial outcome, I devoted maybe .2% of my energies to analyzing what happened. Is “trainwreck” the word I’m looking for?
Some tunes, in two videos, suitable for reading, work, school, or cigar enjoyment.
Sure that’s what the kids are ear-budding these days.
Anyway, may have a little Tom Ironsides’ current affairs along later.