If you’re a stale pale male of a certain age and intellect, John Peel might at times have been the most important person in your life. Indeed, he may still be. He was the BBC disc-jockey who reigned as Britain’s musical arbiter elegantiarum from the late 1960s until his premature death early in the twentieth-first century. Champion of both the melodic and the discordant, he helped launch the careers of everyone from Altered Images to Zvuki Mu, from Dr Feelgood to The Datsuns. He was regarded as a national treasure at the death of his death in 2004 and his lustre remains undimmed thirteen years later.
How could it not? John Peel was on the right side of history. He loved music and hated racism, firmly convinced that there is only one race — the Human Race. He contributed regularly to the Guardian and his shows always contained a healthy quota of Black music. He championed the same things in his politics as he did on the air: vibrancy, diversity and continual change.
But here’s a curious thing. Like his BBC colleague Andy Kershaw, he didn’t live as he listened. Both of them loved Black music while keeping well away from Blacks in their private lives. Peel abandoned ethnically enriched London to live with his attractive White wife and four children in rural Norfolk. Kershaw travelled even further from London, choosing to live on the Isle of Man in the middle of the Irish Sea. Greg Dyke, the former (and possibly Jewish) Director-General of the BBC, once described the corporation as “hideously white,” saying that it needed to employ many more non-Whites. Norfolk and the Isle of Man are much more deserving of that label than the BBC.
So was John Peel’s funeral:
It was a strange sound, coming from somewhere else. It took everyone by surprise. For a moment no one knew what it was. … It was the sound of thousands nearby cheering — a spontaneous, uncontrollable cheer of gratitude, of appreciation of talent, of respect, of love. The people who gave it were not celebrities, but fans. Most of the two thousand people who stood outside the radio DJ John Peel’s funeral at Bury St Edmund’s Cathedral on Friday 12 November 2004 and cheered his coffin as it was borne outside were, simply, his listeners. (The Peel Sessions, Ken Garner, BBC Books 2007)
Nearly all of those fans were White and most of them were men. It was a stale pale male occasion for a stale pale male icon. John Peel’s show did not appeal to many non-Whites. It was too intelligent, too ironic and too eclectic. But one of the show’s ironies was unintended. John Peel and his BBC producer John Walters were White males who devoted their intelligence and talent to an institution that hates Whites in general and White males in particular. In short, Peel and Walters were suicide liberals and spent their lives sawing at the wrong side of the branch they were sitting on.
Billy Bragg, one of the musicians helped to success by Peel, is another suicidal liberal. Like Peel and Kershaw, he has firmly supported mass immigration and ethnic enrichment; and like them, when he become rich enough, he moved as far from non-Whites as he could get — the coast of Dorset. This anecdote about Bragg from Peel’s autobiography (left incomplete on his death and finished by his wife Sheila) sheds an interesting light on the psychology, not just of Bragg and Peel, but of liberals in general:
Billy Bragg also made his début on the [John Peel] show in 1983. He had already posted his single, “Milkman of Human Kindness”, to John when one evening, playing football [i.e., soccer] with a mate [i.e., buddy], he heard John say [on a fellow DJ’s show], “I would murder someone right now for a mushroom biryani.” Billy’s immediate thought was “Yessss!” He bought a biryani from a nearby takeaway and walked to [BBC] Broadcasting House. (Margrave of the Marshes, John Peel and Sheila Ravenscroft, 2005)
At Broadcasting House, Bragg handed over the biryani in exchange for a promise that Peel would play his single that evening. The anecdote, which promotes both Bragg and Peel as quirky, spontaneous people, is also a good example of liberal signalling. The “mushroom biryani” was a signal of Peel’s vegetarianism and exotic, anti-racist culinary tastes, while the soccer “with a mate” was a signal of Bragg’s down-to-earth socialism. Peel himself constantly talked about his love of the soccer club Liverpool and although his love may have been sincere, it was another signal to his audience.
Many members of that audience were also soccer-fans. Even more were fans of exotic food and all of them were, by definition, fans of at least some of the music Peel was broadcasting. Food and music are very important to Western liberals, as you can easily see from newspapers like the Guardian and New York Times. I would claim this as an example of the self-centred, adolescent nature of liberalism. Music and food are potent sources of pleasure, after all, and they also give valuable opportunities for political social-class signalling (“we have the impeccable, upper-class tastes of the wealthy even as we promote leftist social engineering”). Sometimes the signalling may outweigh the pleasure. Did John Peel really like all of the music he played on his shows?
“Killing White Boys…”
Peel fans probably didn’t like a lot of what he played, but the noisiness and discordance satisfied both his neophilia and his desire to shock. These are adolescent traits: “Teenage Kicks,” as Peel’s favourite single put it. Among other “extreme metal” bands, Peel played the very noisy and discordant Brujeria, whose name means “Witchcraft” in Spanish. When they first emerged in the early 1990s, Brujeria presented themselves as an anti-American, pro-immigrant band of Mexican drug-lords who had to hide their identities behind bandannas because they were wanted by the FBI.
In fact, they were formed in Los Angeles and their line-up has always included American and European Whites, despite the title and themes of their first album, Matando Güeros (1993). That title means “Killing Whites” (güero is Mexican slang for a light-skinned or light-haired person). It’s an example of the linguistic asymmetry I looked at in “Words as Weapons”: the Hispanic minority in America can easily monitor the White majority for hostility to Hispanics, but the reverse isn’t true. If the album had been called Killing Whites or even Matando Blancos, it might have alerted more American Whites to the anti-White and anti-American attitudes common among Hispanics.
As it was, the album was “controversial” for its alleged Satanism and for its cover, which portrays the real severed head of a Mexican male. But the lyrics of the title song clearly express the attitudes of Brujeria’s Hispanic members:
Americans use us for wiping their asses,
They treat us like pig-shit.
Have balls and be men:
[Take] A fucking trip north!
Centuries pass and our race is fucked up.
American bastards, they fuck and piss on us:
Forced into poverty,
We are fucking niggers!
Your revenge will be your dark destiny
Killing white boys! Long live the Race!
Killing white boys! Pancho-Villa style!
Killing white boys! Satan takes care of you!
Killing white boys! Killing white boys!
Machete in hand and hot native blood,
Satanic force, looking for revenge,
In the north we will take over! … (translated from the Spanish by Lyrics Depot)
Those words are a fine example of anti-White hatred and Hispanic supremacism. For example, la Raza, or “the Race,” is a reference to the theory of La Raza Cósmica, or the superior “Cosmic Race” that has resulted from race-mixing in Mexico. The title song of a later album, Raza Odiada (1995), or “Hated Race,” describes Pete Wilson, then Republican governor of California, as el rey de los racistas, “king of the racists,” and fantasizes about murdering him because of his support for California Proposition 187, which was intended to stop illegal immigrants using “non-emergency health care, public education, and other services” (but was invalidated by the courts).
Mass immigration has now turned California into an Hispanic state that votes solidly Democrat, but it has not become a paradise of racial equality and harmony. Quite the reverse: Hispanics there are hostile to Blacks and have ethnically cleansed formerly Black neighborhoods. Hispanic immigration has also been bad for women and children, because Hispanics commit sex-crimes at higher rates than White Americans, particularly against children. To be fair, however, even Hispanics are rarely guilty of “Molestando Niños Muertos,” or “Molesting Dead Children,” which is another of the tracks on Brujeria’s first album.
But Brujeria and their interesting themes might never have been successful or come to the attention of John Peel without the stale pale male Jello Biafra, who was one of the band’s founding members and who released some of their early records through his label Alternative Tentacles. Biafra, who is part-Jewish and was born in 1958 under the name Eric Reed Boucher, is most famous as leader singer of the Dead Kennedys, but he was successfully sued by his former band-mates over non-payment of royalties.
Perhaps Biafra’s accounting practices were inspired by his admiration for Mexican culture, where corruption and fraud are very common. Either way, Biafra has certainly worked hard to undermine White America and to promote mass immigration from Mexico and the Third World. By doing so, he has assisted big corporations and the cheap-labor lobby, both of which, as a committed liberal, he claims to oppose. But consistency and logic are not important to liberals: what matters to them is signalling virtue, not understanding reality.
Lessons in biological reality
Hedonism also matters to liberals. The anecdote about Billy Bragg quoted above combines three of their chief interests: music, food and sport. Those things appeal to the ears, mouth and eyes respectively, while those other great liberal obsessions, sex and pornography, appeal to the genitals. Millions of liberals have spent their lives pursuing pleasure in one or more of those forms. Meanwhile, they have ignored or actively promoted mass immigration from the Third World, even as they do their best to escape its effects by living in unenriched areas.
Liberals also pursue pleasure with drugs like alcohol, cocaine, heroin, marijuana and amphetamine. Drugs often bring them into contact with something they would otherwise prefer to ignore: biological reality. John Peel played music by many people who were killed young by drink or drugs, from Jim Morrison of the Doors to Kurt Cobain of Nirvana. The liberal media often try to glamorize these early deaths and the rest of the “rock’n’roll lifestyle.” But it isn’t glamorous: it’s sordid, unhappy and wasteful. Those who promote it sometimes have malevolent intent or even an anti-White ethnic agenda, as described by the TOO contributor Alexander Mikhaylov in a fascinating series about Jewish promotion of drugs and counter-cultural subversion in the former Soviet Union.
Death of a DJ
John Peel himself avoided the chemical excesses of Jim Morrison and Kurt Cobain. Although he was highly promiscuous with women for part of his life, his move from London seemed to turn him into an uxorious paterfamilias who indulged his hedonism safely through his ears and taste-buds. But a hard lesson in biological reality was waiting for him all the same. He began to suffer from diabetes in the 1990s, but at the turn of the millennium his fans still thought that he’d be with them for many years to come.
Then, in 2004, he flew off for a holiday at high altitude in Peru. As Andy Kershaw pointed out in his own autobiography, it was an unwise destination for someone in poor health, because rarefied air places an enormous strain on the heart and lungs. And so it proved: having lived for decades in “very flat” Norfolk, Peel was in very high Cusco when he suddenly collapsed and died of a heart attack. After a life in which he had done his best to ignore biological reality, he had been killed by it.
The BBC, or Bolshevik Broadcasting Corporation as it is sometimes known, did not acknowledge that reality in its response to Peel’s death. Nor did it admit the hostility with which BBC management had often treated Peel and his show. Instead, Peel was hailed as the greatest broadcaster ever to work for the corporation. The cult of Peelolatry had begun. And yes, in some ways Peel was indeed a great broadcaster who worked for a great institution. But the greatness of the BBC is owed to stale pale males: beside Peel, other important names include the natural-history broadcaster David Attenborough, the patrician scholar Kenneth Clark, who celebrated Western art and culture in the television series Civilization, and Lord Reith, the austere Scot who was the BBC’s first director-general.
The Bolshevik side of the BBC — its subversion and anti-White activities — comes from another set of stale pale people: Jews like Danny Cohen, Alan Yentob, Jenny Abramsky and Mark Damazer, who have been disproportionately powerful and influential there for decades. Liberals like John Peel do not recognize that they are part of a suicide cult that turns the intelligence and talent of White men into weapons against White societies. Stale pale males have been responsible both for the technology of the BBC and for its greatest cultural achievements, but they have also been blind to biological reality. Human beings are not equal and mass immigration will not produce a rainbow paradise of racial harmony and justice.
At some level, John Peel knew those uncomfortable truths, which is why he did not live as he listened and broadcast. His escape from multi-racial London to “hideously white” Norfolk was typically liberal, but that kind of White Flight can’t continue. Liberals may try to “keep it Peel” by turning up the volume at their hedonistic party, but they can’t drown a persistent knocking at the door. It’s Mother Nature and sooner or later she’ll get in. That’s when another kind of fun will begin.