About Hunter Wallace 11911 Articles
Founder and Editor-in-Chief of Occidental Dissent

48 Comments

  1. It’s all window dressing. Nothing will come of it. The negro will double down and the Republicans will hold another useless session.

  2. The Civil War wasn’t worth it….

    WW2 wasn’t worth it……

    Iran can destroy the US Military with missiles…

    Russia can destroy the US Military in the Donbass and Black Sea with missiles..

    The enemy of the US Military are Native Working Class White Males….and this was always the endgame of the Cold War….

    The US Military’s mission is crush Native White opposition to……..the Chinese colonization of US soil by Chinese LEGAL Immigrants and their US born Chinese Geneline….its true and how ironic…..

    White Patriot Tardism has been a death sentence…

  3. “Why the hell are we funding this?” FFS Hunter, NONE of us vote for this or want this, it is IMPOSED on us by this federal system you continue to have faith in. Fucking pundits

  4. This is off-topic, Mr. W.—rather, it has to do with a topic that was treated here, at Occidental Dissent, not long ago. Well, I’ll submit it, and you’ll be free to discard it.

    Below are links to music numbers at YouTube. The first is “Tho’ It May Seem Rude,” from Ben Jonson’s “The Masque of Augurs.” The second is “When Love Comes to Town,” from U2’s “Rattle and Hum.”

    When you recently asked Occidental Dissent’s commenters to name heroes they might want to see honored in a statuary garden, several commenters—Southerners, I’d guess—mentioned musical figures; but not one of the figures they mentioned was black.

    Because the racial history and racial condition of the South are, well, what they are, that’s not surprising—but maybe you’ll agree there is nevertheless something odd about it. Chuck Berry? Little Richard? Louis Armstrong? Their roles in American music aren’t as great as that of, say, the Allman Brothers?

    In choosing the Ben Jonson piece, I was guided by its chronological proximity to the South’s origin, which I’ll date at 1627. That was when the English settlement of Barbados began. In that year, according to one of the first accounts of the settlement, “about 40 ‘slaves of negeres and Indyenes’ labored alongside 60 ‘christyanes.’” (See http://www.processhistory.org/opal-barbados-slavery/ )

    So—that original population of black slaves was fairly small; but at https://en.wikipedia.org/wiki/Barbados#The_sugar_revolution of Wikipedia’s “Barbados” entry, we see how the 1640 introduction of sugar cane changed things:

    “In 1644 the population of Barbados was estimated at 30,000, of which about 800 were of African descent, with the remainder mainly of English descent. These English smallholders were eventually bought out and the island filled up with large sugar plantations worked by enslaved Africans. By 1660 there was near parity with 27,000 blacks and 26,000 whites. By 1666 at least 12,000 white smallholders had been bought out, died, or left the island, many choosing to emigrate to Jamaica or the American Colonies (notably the Carolinas). …

    “By 1680 there were 20,000 free whites and 46,000 enslaved Africans;[22] by 1724, there were 18,000 free whites and 55,000 enslaved Africans.”

    Among the greatest effects of that historical process, which began with what was, at most, a few dozen black slaves and which is ongoing, is, as I’ve said, the one that Occidental Dissent’s commenters didn’t even want to recognize—and which those first English Barbadians almost certainly didn’t foresee. I’m talking about the impact on Western music—and, now, on music worldwide. My fellow-commenter Ivan has addressed this here on more than one occasion; and a year or so go, it was mentioned by the commenter who, at that time, offered interesting information about Japanese pop music (and whose ID, I regret to say, I can’t remember).

    So—the links are below. Ben Jonson’s masque is from 1622, which means, in other words, it was probably the kind of music with which those first English Barbadians were familiar. The composer, who set Jonson’s lyrics to music, is unknown, I gather. The performance is by “Theatre of the Ayre” …

    https://www.youtube.com/watch?v=-lLxYBv0Dh0

    Three hundred sixty-five years later, from the heart of the South …

    • Dear John,
      The Southern Negro has some very prominent strong points, one of which is that his is a profoundly musical being.

      To my mind, the great cultural achievement of 20th century American, and, indeed, all The West, is what the Negroes created in musick, most particularly Jazz.

      Of course, here this is revolutionary to say, but, in the musical world it is nothing more than a yawn.

      Nothing illustrates my statement better than when great European musicians, like Ravel and Bartok, came here, they insisted on being taken to Black Harlem, where they spent their nights ogling great Black musicians, like Duke Ellington or Chick Webb, and then imported some of those phrases and rhythms into their musick.

      Other Negroes, like Dexter Gordon, and Sydney Bechet before him, made entire lives concertizing in Europe.

      For me, it is no conflict to celebrate White Southerners, while also appreciating Black Southerners.

      Yes, I can wave a Confederate flag, eat fried chicken and biscuits, all the while enjoying the hell out of the geniuses of Miles Davis, Scott Joplin, or Louis Armstrong, and not miss a beat.

      Regards to mama!

        • @KT-88…

          Interesting comment, which makes me think to say something to you I’ve always thought, but, do not usually speak of here.

          And that is?

          Everyone has a ‘ghostwriter’, if not many, for all of us, as Tibetan Buddhism most correctly asserts, are continuously inhabited by the thoughts, feelings, and attitudes of the minds of those we see not…

      • Ivan- bLACKs didn’t ‘create’ anything THEY CULTURALLY APPROPRIATED WHITE MAN’S MUSIC, and then perverted it, time and time and time again.

        N-word ‘music’ is an Aberration. And your comments about Ravel and Bartok remind me of the stories of Dietrich Bonhoeffer going to Harlem. They did it to FEEL DIRTY and SLUM, while all the time, KNOWING THEY WERE WHITE EUROPEANS, and of a RACE ABOVE the N-word.

        The recent attempts to STEAL BEETHOVEN’S RACIAL IDENTITY for PROPAGANDISTIC PURPOSES, is just one more example of the JEWING of White Culture.

        The only thing I can say of N-word music, is that Elvis and Chuck Berry, never should have been born. Because I can bet you a $20, THEY never wrote on their music, “Soli Deo Gloria.”

        BUT MLK did say, ‘I’m white, tonight!’ when paying vulgar white whores to fornicate with him, the night before he was correctly removed from this plane of existence…..

        • “bLACKs didn’t ‘create’ anything THEY CULTURALLY APPROPRIATED WHITE MAN’S MUSIC, and then perverted it, time and time and time again.”

          Perverted it? No, I’m afraid, Father, I can’t agree. They made something unique of it.

          • @Fr. John+ & John Bonaccorsi…

            Gentlemen, as someone who has devoted much of his life to musick, let me say that this argument is pointless.

            Why?

            Because you both are right.

            Yes, Father, not in a million years would Negroes have made the musick that they did in this country, unless they had bumpt into trombones, trumpets, saxophones, drum kits, guitars, stand-up basses, all of which were the blessed fruits of hi-tech White European Societies.

            And, yes, Father, most of the sophisticated aspects of musick they developet for Jazz were first the 9th chords of Late Brahms, or the 11th chords of mid-late Faure, or the modal concoctions of early Debussy.

            Too, the hi-octane linear aspects of Jazz, as pursued by those like Charlie Parker, were absolutely inspired by the linear counterpoint that had centuries before been most heavily advocated in the Ars-Nova early renaissance choral musick of DePrez and Ockeghem, and, later, that of J.S. Bach.

            That said, the Negro went his own way with these things. No better example than that of the father of Ragtime, Scott Joplin, than the fact his music, on the page, looks like standard marches of Chopin’s time, yet, to the years, they are quite unique and fresh – from the adventurous chromaticism, off-kilter uses of 7th chords, and displacet rhythmick accents.

            As to Rock-n-Roll, there is nothing ‘European’ there, or, at least, not until Ian Anderson and Jimmy Page, of Jethro Tull and Led Zeppelin, respectively, began to inject traditional Anglo-minstrelsy into what, up until that point had been a wholesale pillaging of the Southern Negro art of blues and rock-n-roll.

            Blues and, it’s progeny, Rock-n-Roll were totally and completely the product of the genius of the Negro mind working out it’s angst in the4 midst of White European civilization.

            Nothing illustrates this more than, until Pat Boone and Elvis Presley thanm in Dixie, we had stores for White Musick, and that for Black.

            My now deceaset Alabama father-in-law could never understand how his daughter, a child of the 60s and 70s, could bring herself to listen to all that ‘wailin’, that being his reference to anyone who sang in what he regarded as a Negro way.

            In conclusion, I’ll leave y’all with a haunting example of The Southern Negro’s original musical genius – Mr. Skip James.

            Please take note that Mr. James used a d minor tuning on the acoustick guitar that had once been advocated on the French baroque lute by those like Charles Mouton, though, I am sure that Mr. James, an illiterate sharecropper knew nothing of Mr. Mouton, he who had lived in 17th century France…

          • Your historically-informed remarks on elements of black music are much appreciated, Ivan. When you mentioned Led Zeppelin’s injection of “traditional Anglo-minstrelsy” into rock, what came immediately to my mind was the following, from 1970’s Led Zeppelin III …

          • Signor Bonaccorsi-

            Wuhan made something ‘unique’ a year ago, too… but that doesn’t make it good, something to emulate, or IN ANY WAY, ‘beneficial to society.’

            Been re-reading Bloom’s “Closing of the American Mind” again, as if for the first time.
            His chapter on this kind of nigger music you seem to like, is as trenchant…. as it is dismissive.

            It’s no wonder Orthodox Churches DESPISE Western Music for the Church. It is Entartete Musik- DEGENERATE ART.

            And, as such, it has NO PLACE in a White Man’s world- frankly, nor do the N-words.

            Ivan, I’d like to communicate with you. We share much in common, I believe.

          • @Father John+ and John Bonaccorsi…

            Thank you, Father, for the kind and effusive words. Yes, we have a a great deal in common, and, yes, I am sure we will be in touch.

            I thank you for all you share with us here.

            As to Led Zeppelin III, Dear John : it is my favourite album by them, and, as such, I believe it is an excellent example of that which we were discussing – the synthesis of traditional English minstrelsy with Southern Negro blues.

            Yes, not only is it prevalent in ‘Gallows Pole’, but, right from the start with the album’s opener, ‘Immigrant Song, that song taking a kind of Howlin’ Wolf motif and laundering it with lyricks and a musical twist to sound more like a lost 8th century dark ages Viking saga.

            Then, on the very next song, ‘Friends’, Led Zeppelin makes their most adventurous blend, it starting off with a kind of Robert Johnson tickling of a 7th chord, on an open-tuned acoustick guitar*, and then John Paul Jones adding a kind of symphonized East Indian modal blending to the piece which, overall, maintains the structural basis of a traditional Anglo-Minstrelsy tune.

            For me, Led Zeppelin III and ‘Physical Graffiti’ are right up there with ‘Fragile’, by Yes, ‘Songs from The Wood’, by Jethro Tull, ‘Surrealistic Pillow’ by Jefferson Airplane, ‘Black Sabbath I’ and ‘Sabbath Bloody Sabbath’,’ by Black Sabbath, ‘Hair of The Dog’ by Nazareth, ‘Dark Side of The Moon’ by Pink Floyd, ‘Killer’ by The Alice Cooper Band, ‘A Farewell to Kings’, by Rush, ‘Diamond Dogs’ by David Bowie, ‘The Doors’ by The Doors, and ‘Crosby Stills and Nash’, by CSN as being rock’s most successful attempts to take the synthesis of Southern Negro and White European art to an extraordinarily high level.

            To me multiculturalism does not work, as it creates more problems than it solves, but, if you wanted to make an argument for what is successful about multiculturalism, I think music and cuisine would be you pillars.

            One thing I will say, though I am race, culture, and faith conscious in everything, in musick the overriding concern is the musick, much less so who the artist is, or what his opinions are.

            As someone who has spent his life in art, I am only too aware how pathetick most artists are, personally, when you compare them to their musick.

            Musick is quite a gift from God, and I love it like I love my family, Dixie, Chryst, and The Orthodox Church.

            *Led Zeppelin III is amazing for many reasons, not least of which were Jimmy Page’s utilization of both Negro and traditional Gaelick open tunings.

          • You’re simply incapable of recognizing, Father, that classical music was a cultural nightmare, the spiritually-destructive product of a long train of diseased minds.

            (Okay, that was a joke—I think.)

          • In case you’re wondering where I was on the evening of February 8, 1975, Ivan, the information listed at http://www.bootledz.com/setlists/1975.htm will confirm that I was at Philadelphia’s now-demolished Spectrum, the arena where Led Zeppelin was performing that night. Because I’ve never been quite the true rock-lover that my friends with whom I saw the show are, I remember little of it and don’t really recognize many of the songs on the setlist at the entry I just linked. I do remember that the opener was “Rock and Roll” and that the band played “Kashmir” and other selections from Physical Graffiti. Wikipedia confirms my recollection that that album, with which the tour was associated, hadn’t even been released by that evening, several weeks into the tour. There’d been delays in the production of its sleeve.

            In my vague memory, watching the band was like watching an old Jack the Ripper movie, so heavily-befogged was the venue’s nighttime air—with marijuana smoke. Right after he sang “And the forests will echo with laughter,” in “Stairway to Heaven,” Robert Plant dramatically said, “Does anybody remember laughter?” This seemed quite clearly, at the time, a reference to the pall that had settled across the Western world during the political contention of Watergate. Since, as I now see, Nixon had resigned the Presidency six months before that evening and thus brought Watergate to an end, I’m surprised, in retrospect, that the pall was still being felt, but that is my recollection of my sense of what Plant was addressing. The audience cheered in response to the question.

            As I say, I’m not quite a true rock-lover and thus tend to know only songs that get onto the radio. When, for instance, you mentioned “Fragile,” by Yes, I had to visit Wikipedia to find out which hit is on that album. (“Roundabout,” as I’m sure you know.) My true rock-loving friends would know much more than I do about some of the albums you listed as your favorites, but I still have a fondness for rock as a phenomenon and thus enjoyed your informed remarks about musical elements of Led Zeppelin III. Once I’d read your post, I went to YouTube to listen to “Friends,” which I’d forgotten how much I liked; and I listened, too, to “That’s the Way,” another of my favorites from that album. It’s one of the few rock albums whose non-radio songs are somewhat familiar to me.

            Affection to everyone at your end.

    • The Blue’s has been traced to Berber guitarists in southern Libya. Its quite shocking to hear them play.

      • About twenty years ago, Captain, I saw a then-old documentary in which a small band of African Bushmen included a bard, so to speak, who performed his songs to a beat he tapped out with a slender stick on something like a gourd. Even though I was aware at that time that the Bushmen had generally not been classed as a Negro type by the physical anthropologists whose views were probably already in bad odor by the time the documentary was made—1950s maybe or early ’60s—they seemed a Negro type to me; and the beat he tapped out was funky, for lack of a better term. One song’s lyrics—as translated in notes from the filmmakers—were an amusing story of abuse he’d suffered when he’d wooed a bushwoman from another band and had thus provoked anger in the men thereof. (I’m going by vague memory here.)

        For all I know, the songwriting tradition behind that bard’s work goes all the way back to, say, some Bushmen encounter with songwriting proto-Aryans 20,000 years ago; but the beat is still distinctive. Take a look at footage of Michele Obama, in her First Lady days, dancing with a Hindu girl, in India, if you doubt that blacks move to a unique rhythm. The Hindu girl, whose dancing was more like European or other traditional dancing, was instantly thrown off by the swaying into which Ms. Obama naturally lapsed.

        If you have a link that would thrown some light on your statement about the blues and Libya, I hope you’ll post it; but I don’t know that it would be enough to invalidate a claim that blacks have brought something unique to music.

        PS Though I wouldn’t be surprised if the documentary I’ve mentioned is fairly-well-known, I don’t recall the title. There was a memorable, rather sad moment in which the presence of the documentarians seemed to me to make it impossible for the band’s sages to resolve an intra-band conflict or problem that would probably have been no big deal for them ordinarily. Part of me wanted to jump into the movie, grab the documentarians by the throat, and say, “Leave these people alone.”

        • Minute 21:00

          Berber plays the blues. Very isolated area no tourists. Some kind of Ur blues being played. David Adams documentary in Sahel.

          • Thanks, Captain, very informative.

            Let’s take the thought to the limit:

            Is it possible “the blues” is an Aryan creation, an antique one, spawned by an Aryan group and preserved by non-Aryans with whom that group was in contact, while the group itself faded away in the region where the music was born?

            As you might guess, that doesn’t strike me as out of the question. My own knowledge of the Tuareg, who are the Berber group in that blues segment, is limited to information that was in old-school physical anthropology books I read back in the ’90s mostly—Carleton Coon and the like. The main thing that formed in my mind about them was a sense of their geographic territory, and a map I now see at Wikipedia comports with that:

            https://en.wikipedia.org/wiki/Tuareg_people#/media/File:Tuareg_area.png

            Ghadames, which is the town in that blues segment, seems to be at that territory’s apex, on the Libya-Algeria border. (See map at https://en.wikipedia.org/wiki/Ghadames )

            If I’m correctly recalling what was in those physical anthropology books, there are some blonds in Berber territory, though I don’t recall that any of the Tuareg were said to be blond. In just now searching “Tuareg” at Google Images, I’ve gained the impression that that particular Berber group is a bit of a racial hodgepodge, as they seem to be in the blues segment you linked. The girl at the following link is Aryan-looking, though not fair-haired:

            https://www.alamy.com/stock-photo-niger-ifrouane-young-woman-of-tuareg-tribe-smiling-with-red-paint-14121530.html

            The guitarist in the blues segment you linked was dark-skinned and vaguely-Negroid, and I suppose someone might argue that the Tuareg learned the blues from their Negro chattels, who might have created the form by using the stringed instruments of their owners.

            I’m willing to accept, by the way, that the form predates Tuareg contact with the modern West, even though the “Titanic” sticker on the guitar in the video slightly undercuts your claim that the setting is “very isolated … no tourists.”

            Here’s an interesting, ancient painting from Algeria—pink-skinned man, though I suppose the paint might have changed colors across time:

            https://en.wikipedia.org/wiki/Berbers#/media/File:Hoggar_peinture_rupestre1.JPG

            The following, which talks about the genetic “Berber marker” is something I should probably also link, though I don’t know enough about the subject to get anything out of it:

            https://en.wikipedia.org/wiki/Genetic_history_of_North_Africa
            (Genetic History of North Africa — Wikipedia)

            At the link below is a video to which I linked some months ago here, at Occidental Dissent. It’s one that often comes to my mind when I wonder how many of the world’s remnant cultures are fossilized Aryan genius …

    • @John Bonaccorsi…

      Thank you, Dear Gianni, for your always interesting responses, in this case your ghostly recollection of what now is a Winter’s Tale from 19 & 75.

      Thank you, too, for having taken the time to revisit Led Zeppelin III, after having read my remarks.

      Yes, ‘That’s the Way’ is a truly great tune, and, back in those days, it was my favourite acoustick tune on that album, though, as I have gotten older, ‘Friends’ I have come to like a bit more.

      Given that you talk with a certain reluctance about Rock Musick, and yet you do seem very musical, it leaves me to wonder if you are a fan of Jazz, or, if not that, then what?

      Thank you for your affection sent. It shall be conveyed!

      • You’re welcome, Ivan. I’m glad you appreciated my concert recollection; but with respect to Led Zeppelin III, I’m the one who should be thanking you, since you prompted me to give some of those old recordings a new listen. It sometimes seems to me that that period—the Age of Rock—has high cultural status, like that of Attic tragedy. At YouTube, there seem to be numerous videos in which young musicians—i.e., persons who didn’t grow up in that age—perform songs from that period.

        The reason I speak with a certain reluctance, as you’ve put it, about rock is probably that I try to be mindful of my limited capacity for culture—certainly limited in comparison with that of someone like you. I don’t have anything near the exposure to or appreciation of writing and music that you have, and I avoid giving impressions to the contrary. If I appreciate, for instance, jazz, which you’ve brought up, I do so only in the way that I appreciate rock. That is, I can appreciate the hits; or to put it another way, the song I liked best on any rock album was invariably the one that rock critics described—sometimes, scornfully—as “radio-friendly.”

        That means, with respect to jazz, that I can’t really appreciate anything from be-bop and after, when jazz disdained popularity. The jazz, in other words, that I can enjoy is the jazz that would have been playing in the background while Jay Gatsby was getting a suntan.

        Well—here’s an example …

        https://www.youtube.com/watch?v=9MRDc2bgAzI

        On the other hand, “the hits” are probably what are best remembered from Attic tragedy, so maybe I don’t have all that much for which to apologize. Decades ago, Randy Newman responded, “The hits,” when a late-night TV interviewer—Bob Costas—asked him what he, Newman, thought would be remembered from the music of our time.

        Since I’ve made the comparison between rock music and Greek tragedy, I’ll mention that circa 1990, a black academic, I guess he was, though I didn’t recognize him, said to Charlie Rose—another late-night TV interviewer of yore—“The blues is the tragedy of our time.” When Rose heard this, he instantly leaned forward and asked for clarification, possibly—as it seemed to me—because he was thinking the man was going to make a standard remark to the effect that old blues musicians had never been financially compensated for the music that had spawned the lucrative phenomenon of rock. No—the academic wasn’t making a political point, he was making a cultural one. Arguing, reasonably, that rock—at that time, still—had, in the West, a status like that which tragedy had enjoyed in ancient Athens, he said, “The blues gave birth to rock, and rock is—” He paused, as if he were searching for the word. “Everywhere.”

        • @John Bonaccorsi…

          Thank you so very very much for the kind words.

          Interesting how you talk about yourself, or, more specifically, about your perceptual ken.

          In any case, I enjoyed the White-attenuated Dixieland jazz piece you send me of Annette Henshaw.

          Her great strength as a singer is to project, in such a charming way, the beauty of her feminine vulnerability and draw of her magnetick fecundity.

          Oddly enough, as I was writing, your piece came to a conclusion and then the YouTube algorhythm put on the following, which is not only of a similar style, but, makes me wonder what you thought of the movie of which it formed a part of the accompaniment in 1980?

          https://www.youtube.com/watch?v=vQfJKmXm_7c

          And, yes, the Arte-Rock of the early 1970s has become the classical musick of the younger generations, many of them listening to it with as much fawning assiduity as we once scrutinized Bach, Debussy, and Beethoven.

          All the best to you, Sir!

          • “The Shining,” Ivan, is a movie I didn’t understand.

            I’m trying to remember …

            When the movie came out, I was holding a brief job at a film festival, of all things, in Los Angeles. I know that fact because one of my co-workers—we answered the festival’s customer-information phones—saw it before I saw it and was put off by the misogyny of Jack Nicholson’s character.

            Maybe a Philadelphia friend of mine was visiting me, in Los Angeles, at that time, because I have a vague memory that he—who became one of the movie’s fans—and I saw it together. Though there were one or two moments that I found stunning, I simply did not understand the story.

            In reading YouTube comments at the video you linked, I was reminded once again how strange is that fact, because I can tell there are persons for whom the movie is just about the greatest movie of all time, yet I, to say it again, literally DO NOT UNDERSTAND THE STORY. Since I usually enjoy that sort of Twilight-Zone-ish thing, I find it strange that the appeal of this one is entirely lost on me.

            Have I mentioned that I do not understand the story?

            Not until you linked that video was I aware that that musical recording had become part of the movie’s lore, so to speak. That’s probably because I’m unaware of the movie’s lore because, as I should probably explain, I LITERALLY DID NOT UNDERSTAND THE STORY.

            Anyway—in watching the piece you linked, I did enjoy that music while it was playing behind the shots of that stunning ballroom set. When I learned, shortly after I saw the movie, that the interiors were sets, as opposed to actual locations, I was stunned, so real had they seemed. Having just now gone to Wikipedia, once I’d watched the clip you linked, I have learned that those sets, too, are part of the lore, since, among other things, they don’t entirely make sense spatially. (Here’s the Wikipedia section: https://en.wikipedia.org/wiki/The_Shining_(film)#Spatial_layout_of_the_Overlook_Hotel )

            I didn’t understand that movie.

  5. Convicted Pedophile Scott Ritter knows why the Democrats have taken control of the US Congress:post-1965 Immigration Policy which has massively empowered the Democratic Party. And Scott Ritter has been a cheerleader for the Demographic transformation of America. Moreover, based upon what Scott Ritter stated in the video…we can conclude that 1)The US Military will slaughter the Native White Working Class in the streets of America and 2)the post-1965 nonwhite vote will be the basis that will have allowed this to happen…when it happens-which it surely will.

    And yes Scott Ritter got in trouble legally in the underage-girls realm….sick piece of shit…

    • Cotton cucked like they all do. He could have said without Whites, there would be no US. Without Whites, the Japs would have defeated the US in the pacific. The Japs never lost a battle in the air or on the seas until they took on Whites and their superior minds and technology. Do you think that would have happened under a diverse military? Not a chance. Once the US desegregated the military, the US hasn’t won a war. But no, he had to bring up some black female and sexes in the military like he was supporting the diverse and degenerate military.

      • The Negro units of the US military in WWII were always led by NCOs who were white Southerners, because the War Department believed they were the most capable in dealing with lazy, unruly coloreds.

        • @Spahn…

          Southern Negroes are unpredictable fighters, like Whites, some cowardly, some very brave, others, most others, men who, when galled will stand their ground, even though they are not wishing to be heroes.

          As to ‘handling Negroes’, there is a tried and proven way – be firm, but, be kind and warm.

          Always look them dead straight in the eye and never let go of that, for they take indirectness as a sign of weakness.

          If you are this way they will be some of the very best friends you might ever hope to have.

          Never forget most Negroes are emotion-driven, and, that so, if they love you, they’d take a bullet for you, without thinking, or, conversely, if they detest you, they let you catch a bullet without even a moment’s reflection.

          It’s really up to you, as a White Man, how The Southern Negro responds to you, because, if the truth be told, Southern Negroes would wish to be everyone’s friend.

          Most of them have affable and warm-hearted personalities.

          • Best thing is to avoid contact. Eventually the cannibal will reveal itself.

        • Spahnranch,

          That just reinforces the hand that southerners and their negroes had in the War for Jewish Hegemony.

          • No they were rapists in fact the penalty for rape was the firing squad thats been ended cuz “reasons” ?

          • Not in the US orbat at least. Blacks did show up in other military establishments in native regiments and colonial theaters of war. But yeah, niggers didn’t really show up for ww2. Truth is they were cheering in the Japanese in the Pacific and probably didn’t really think about Germany as a problem. Their hostility to Nazis is a retcon. Blacks were hoping to see the European empires crushed by the Germans.

      • And even then the Japanese were a bit unlucky at Midway. White Man’s Luck, God did appear to guide the dive bombers and torpedo runs in their flailing but ultimately lethal path to victory. Amen.

    • @Zerobid…

      I really think you are flattering Senator Cotton, to call him a ‘Phony Populist’.

      To me, I cannot see anything more in him than a Neo-Con Free-Trading yesterday’s news’s Federalist ‘Conservative’.

      • True enough, but as much as politicoes like Cotton are happy to use us, we mustn’t hesitate to use them when we can.

  6. I’m glad morale in ZOG’s mercenary force is low. Hopefully any decent white servicemen still in uniform will leave soon. Then only the dykes, fairies and coloreds will remain!

      • Don’t forget the Irish. Flynn, McCrystal, Miley, Martin Dempsey, are you catching on yet?

        You are the one of the people who defended them, what have you got to say?

  7. The US military has always been the cutting edge of the left.

    It’s good that the military is finally being honest with the troops as to what their job is in the military. As ZOG mercenaries, their purpose to exterminate the White race and to make the world safe for man on man sodomy and trans children.

    • @Dart…

      “The US military has always been the cutting edge of the left.”

      I can see that, from a certain angle, how you might say that, BUT, one thing I would say to you is that, when I was in, the majority of the soldiers I knew were quite far to The Right – Far Right, by today’s standards.

      And, I would be willing to bet, many are that way today, though, now they must remain mum about that, this as they practice something at which everyone in civilian life must be expert : smiling at work when they hear something from a superior that they find positively nauseating…

  8. There was a black Yale musicologist who caused a big stink among the niggers 20 years ago or so when he revealed that his research into the origins of the “old negro spirituals” howled by the field slaves (the supposed sun-source of all truly American music) showed that they came from…Scottish church songs. Naturally, he was lambasted as a “hankachiff-haid Unca Tom” for daring to undermine the black certainty in their popular music creative supremacy.

    After all: if dey ain’t got dat, what HAS dey got?

    This is not to say that there haven’t been truly great & innovative black musicians. I enjoy listening to old bluesmen like Robert Johnson, Blind Lemon Jefferson & Muddy Waters, or jazzers like Charlie Christian, Parker or Art Tatum.

    Music, especially in multiracial societies, is inevitably a melange of influences.

Comments are closed.