Anti-White Hate and White Ethnomasochism at the Opera

Daniel Bernard Roumain

Given the obsession with “systemic White racism,” it’s not at all surprising that enterprising non-Whites can make a career out of their supposed oppression. A very lucrative career in many cases.

A big problem for those intent on displacing White culture is the world of classical music. Brenton Sanderson described the assault on classical music in his aptly titled “Triggered by Beethoven: The Cultural Politics of Racial Resentment“:

Laudatory references to White male geniuses like Beethoven inevitably trigger rage from anti-White commentators who huff that it has “long been an argument of white supremacists, Nazis, Neo-Nazis, and racial separatists that ‘classical music,’ the music of ‘white people,’ is inherently more sophisticated, complicated, and valuable than the musical traditions of Africa, Asia, South America, or the Middle East, thus proving the innate superiority of the ‘white race.’” Seen through the Cultural Marxist lens of critical race and gender theory, Beethoven’s music dominates the concert repertoire not because of its exceptional quality, but because White-male privilege and assumptions about White-male genius keep it there. Linda Shaver-Gleason insisted Beethoven’s dominant place in the canon was the result of a White supremacist conspiracy which “intentionally suppressed” the music of non-White composers “in the service of a narrative of white — specifically German — cultural supremacy (because, alas, that too is part of Western culture).”

The main problem for the haters is simply the complexity and sophistication of the Western musical tradition.

While purporting to offer additional insight into music, the New Musicology systematically imposes an anti-White male ideology on its subject, and, in this endeavor, happily discards all standards of proof and evidence. [Before the new musicology,] there was a belief in purely musical elements and in the value of studying them. The problem with such “objective” technical analysis, for the [cultural Marxists], is that it invariably leads to “White supremacist” conclusions about the relative quality of different musical traditions.

Daniel Bernard Roumain, a Black of Haitian descent, is a classically trained violinist and composer. He likely agrees that any and all aspects of Western culture reflect White male supremacy and are hence evil to the core. But the main thrust of his assault on the classical music world takes a different course: interjecting his hatred of Whites into his compositions. Surprisingly, there has been some push-back to his explicitly expressed hatred, but in our woke cultural moment, that’s a big plus for his career.

Heather MacDonald has a nice analysis (“Resisting Racial Demagoguery“).

Composer Daniel Bernard Roumain has made a good career leveraging his skin color. He writes pieces with titles like “i am a white person who ____ Black people.” He argues that orchestras should “focus on BLACK artists exclusively” [punctuation in the original]. He has solicited funding for a work written “EXCLUSIVELY for BIPOC [black, indigenous, and people of color] members of ANY orchestra.” …

Roumain argues, white musicians’ contracts should be term-limited as reparations for “decades of benefitting from orchestral racism.”

Just your basic White-hating activist. So he was invited to write an aria for an event commemorating the Tulsa race riot of 1921, to be sung by a Black (of course) mezzo-soprano, Denyse Graves. And since his whole thing is anti-White activism, the emphasis in his writing is on the words, not the music—thus avoiding any serious analysis of the technical aspects of his compositions. (I would not venture an opinion on its technical aspects, but Heather M describes the piano accompaniment as consisting of “insipid, New Age-y broken triads and cliché-ridden chord progressions. The melodic line is negligible.” A composer who preferred to remain anonymous (for good reason!) stated, “Although I do believe that [Graves] was not in sympathy with the tone and thrust of the text, she also knows well what good music is. This ain’t it.”)

Roumain thinks there is a “bloodlust sown deep within the American psyche,” but he’s definitely not referring to the vastly higher rate of Black homicide per capita. He’s referring to George Floyd and Breanna Taylor—exactly the sort of nuanced analysis we have come to expect from BIPOC activists. He thinks that Blacks live every day in fear of being killed by a cop, stating to a very sympathetic interviewer: “The inspiration to compose They Still Want To Kill Us was my wanting to convey how it feels to live in America as a Black man and know that on any given day, you could be murdered and die in America. That feeling never goes away. It’s always there.” I wonder if he’s afraid of being around Blacks given that Blacks are much more likely to be killed by Blacks than Whites.

But it could be that he actually believes he is in permanent danger because of his race given the media- and activist-created hysteria that happens every time a cop kills a Black, no matter what the circumstances. As with the covid panic where we see people wearing masks even outdoors and even alone in their cars, the public is quite susceptible to messages that create fear.

Roumain seems more interested in spewing out sound bites expressing his hatred toward Whites than in writing serious music. Heather M.:

Roumain’s titles are his calling card, into which he puts his greatest effort, he says—arguably an unusual emphasis for a composer; once he comes up with the name of a piece, the musical writing comes easily.

Roumain also wrote the aria’s lyrics, which begin with brief phrases about the rampage and end with:

They still want to kill us.
God Bless America
God Damn America.

But Graves balked at singing that last line, “God Damn America,” and Roumain refused to budge, so there was an impasse. But the aria was eventually performed by another Black soprano, J’Nai Bridges and funded by a variety of establishment arts organizations, including:  Opera Philadelphia, the Fine Arts Center at the University of Massachusetts Amherst, Stanford Live, and the University Musical Society at the University of Michigan. And besides that:

Roumain’s racial-justice profile has earned him a seat on the boards of the League of American Orchestras and the Association of Performing Arts Presenters, as well as a faculty position at Arizona State University. He has been commissioned by Carnegie Hall and is working on film, TV, and opera scores.

Such oppression!

As is so often the case among social justice warriors, on one hand he wants discrimination against White musicians, but then he dresses it all up with the loftiest of moral platitudes:

The truth is: as much as I would love to feel safe in America and a part of its moral fabric, I don’t feel safe and I would like this country to embrace a new shared radical morality based on empathy, safety for us, and justice for us all.

So at least he’s not explicitly hoping for White genocide. But he’s certainly willing to bend over backwards to blame a White person for the impasse in Tusla.

Roumain was particularly exercised that [Tulsa Opera’s artistic director Tobias] Picker was involved in trying to reach a compromise. Picker is white. No matter that Graves was the one who rejected the piece and that [Black Assistant Conductor] Howard Watkins was just as instrumental as Picker in the abortive negotiations. The entire incident, in Roumain’s view, reflected what happens when a white male runs a classical music organization. Roumain told Tulsa Public Radio that it “hurt” to have Picker suggest possible revisions. Picker’s whiteness is emblematic of the racism of an institution with “far too many white males in charge,” Roumain said. And Picker’s suggested revisions didn’t speak to “what happened on Jan. 6, what happened in Ferguson, what happened in Charlottesville . . . what happened in Atlanta.”

Picker is a White transgender activist and, at least from Roumain’s point of view, exactly the sort of progressive White person described by Robin DiAngelo, who has another book out, this time focusing exclusively on progressive White people, “the most bigoted, the most harmful, the greatest threat to racial equality.” By not giving Roumain the artistic freedom to express his hatred toward White America, Picker has shown himself to be an oppressor of Black people. And I guess Graves and Watkins are Uncle Toms.

Picker … is a far cry from the white reactionary of Roumain’s nightmares. Tulsa Opera hosted the American debut of a transgender Heldenbaritone—formerly male, now “female”—who in 2019 sang the title role in Tulsa’s Don Giovanni, creating a sexual hall of mirrors that would delight the most cutting-edge gender studies professor. Picker’s own opera about one of the first recipients of sex-reassignment surgery will be premiered in 2023.

Even though Graves, Picker, and Watkins stood up to Roumain, it’s likely that most of the classical music world and their audience are engaging in the usual ethnomasochism so common among progressive White people.

photo on the New Jersey Orchestra’s website publicizing “i am a white person” shows smiling, elderly white people clustered around the composer, hanging on his every word. One imagines him explaining his status as a victim of their white privilege, an accusation they humbly accept.

Roumain is likely aware that his entire career depends on White guilt and he is more than ready to take it to the bank. He’s just appealing to his audience in the confidence that his messages of anti-White hate will trump serious analysis of his music because the audience really wants to be brow-beaten by messages of how evil White people are.

The enthusiastic audience for Greenwood Overcomes was predominantly white and middle-aged, judging by the concert video, just like Roumain’s audience at the New Jersey Symphony Orchestra. This demographic, scorned by the Black Lives Matter movement, is more likely to turn out for black-themed programs than blacks themselves. Roumain seeks color-coded boundaries around artistic expression and historical commemoration. This neo-segregationism is not just a blow against imaginative possibility and human understanding; it is also commercially suicidal.

Given the guilt-ridden tendencies of White progressives and Roumain’s excellent career trajectory, I rather doubt that Roumain’s messages are “commercially suicidal.” Is his “neo-segregationism” good for White advocates — Whites who reject White guilt and are looking to advance the prospects of White Americans? It’s quite clear that quite a few Whites, like Roumain’s audiences, are willing to wallow in self-abnegation and pay for the privilege of doing so. They are intelligent, well-educated, and economically secure — and often they have benefited career-wise by going along with our new culture of White denigration. But they are caught up in the moral community created by our hostile elites in the media and academic world, and they just want to be seen as good people. And many of them are good people — at least the ones who aren’t cynically exploiting the situation for personal gain. They are just hopelessly naïve about how the world works and what this cultural revolution means for the future of Whites in America. One hopes that they will wake up when they find their grandchildren are passed over for non-Whites when applying for positions in universities or in the job market.

But maybe not. This tendency toward wanting to be seen as a good person runs very deep in White people. It’s fundamental to the unique individualism that defines the West.

In any case, there are substantial numbers of White people — it’s not clear how many — who react to anti-White hate by identifying more strongly as White and understanding that the future of Whites in America is precarious at best. This neo-segregationism has become a talking point among mainstream conservatives like Heather M., and twenty states have banned or restricted Critical Race Theory from being taught in public schools. A lot of this is conservative virtue-signaling (“Dems are the real racists”) but mainstream conservatives do seem much more willing these days to dwell on examples from the media or academic world and note explicitly that they are anti-White. For example, Tucker Carlson and Fox News noted an outrageous “academic” paper in The Journal of the American Psychoanalytic Association by the presumably Jewish Donald Moss. The abstract:

Whiteness is a condition one first acquires and then one has—a malignant, parasitic-like condition to which “white” people have a particular susceptibility. The condition is foundational, generating characteristic ways of being in one’s body, in one’s mind, and in one’s world. Parasitic Whiteness renders its hosts’ appetites voracious, insatiable, and perverse. These deformed appetites particularly target nonwhite peoples. Once established, these appetites are nearly impossible to eliminate. Effective treatment consists of a combination of psychic and social-historical interventions. Such interventions can reasonably aim only to reshape Whiteness’s infiltrated appetites—to reduce their intensity, redistribute their aims, and occasionally turn those aims toward the work of reparation. When remembered and represented, the ravages wreaked by the chronic condition can function either as warning (“never again”) or as temptation (“great again”). Memorialization alone, therefore, is no guarantee against regression. There is not yet a permanent cure.

This is nothing less than a recipe for the genocide of Whites as incurable racists. The hatred is obvious, and it’s no accident that the writer is a Jew (Fox News refers to him as a “white man” but Moss is a common Jewish name). Nor is it surprising that Moss’s article appears in a psychoanalytic journal. As noted in The Culture of Critique, psychoanalysis is an infinitely pliable tool that is able to create any result one wants and give it a veneer of science — with psychoanalytic theories of anti-Semitism and the Frankfurt School’s theory of White ethnocentrism being the most relevant here. So even though conservatives tiptoe around the deeper issues, it’s not difficult to see that the message of mainstream hatred toward Whites is definitely getting out there. A necessary development.

86 replies
  1. Ned J. Casper
    Ned J. Casper says:

    The NY Post (online) has published a mugshot of Donald Moss and some of the adverse comment on his piece which reads like one of those parodies of “postmodern science” and “critical race theory” that caused amusement among serious academics (Jews included).
    Here are two even juicier, easily searched online examples of anti-white “musicology”: (i) Philip A. Ewell, “Music Theory & the White Racial Frame,” September 2020; and (ii) Chris Jenkins, “Is Classical Music Racist?” February 26, 2021.
    Europe produced “classical music” quite independently of slavery (Joseph Bologne apart) and we have Bach, Beethoven, Handel, Wagner (and Coleridge-Taylor) &c &c &c whether other people like it, or them, or not. It is “just us”.
    To be fair, there are a small number of competent non-white classical instrumentalists and opera singers.
    But to put the achievements of Dead White European Males on the same level as afro-dance, jazz or drill rappin’ is self-evident nonsense. Mental appreciation of orchestral masterpieces is in a different category to swayin’ and jumpin’ about in response to monotonous percussion.

    • Tim Folke
      Tim Folke says:

      If our classical music is only for us, so be it – it is beautiful!

      Beauty called by any other name is still beauty.

      I do not much care for salsa music – it makes me tense. And as for “swayin’ and jumpin’ about in response to monotonous percussion” as you so accurately put it, I heard someone once describe such noise as the ‘plaintive sounds of a constipated monkey’. I’ve not been around monkeys but regardless the illustration was vivid.

  2. John
    John says:

    In the meantime, the INVASION continues as the 3rd world is pouring over our borders.
    INVASION is top priority. Our traitorous leaders have accelerated INVASION of our country before we wise up on what is happening. The question is: when r we going to come together to halt & reverse this INVASION. Every day we delay will make it more difficult to reclaim our country. We’ve seen our future; it’s South Africa.

    • John
      John says:

      The INVASION continues:
      “On a Remote Stretch of the Texas Borderland, the Whole World is Crossing the Rio Grande.
      … the whole world is showing up”.

    • John
      John says:

      “UK Home Secretary asks social media companies to censor videos of illegal migrant crossings”.
      OF COURSE, because the plan is to use the 3rd world to destroy European peoples & their homelands.

  3. Hans
    Hans says:

    At first glance it is ridiculous. But the development is serious and dangerous. At the end classic music from white composers or white musicians will be outlawed. A further mosaic piece in the Jewish compaign to discredit white culture and finally white beings.

  4. anonym
    anonym says:

    Thankfully the POC classical musicians mostly seems to be attracted to the Jewish classical composers – Schönberg, Mahler, Glass – who´s “music” is vastly more “sophisticated” and “advanced” than genuine european classical music. Most great classical music can be whistled – the complexity is just in the arrangement.

    Try whistling anything from Schönberg…. The fact that Jewish classical music is disharmonious and unlistenable seems to be a deliberate political act, while those kinds of Jews, at the same time, seems able to appreciate the destructive character of their racket (albeit on a cerebral and brute instinctive level). And their laughable snobbishness. Like comparing Talmud or Cabbala to Aristotle. Making sense, to them, isn´t even secondary to appearing intelligent and sophisticated.

    The quote from Donald Moss sounds like an almost perfect description of the Jewish mindset:

    “Parasitic Whiteness renders its hosts’ appetites voracious, insatiable, and perverse. These deformed appetites particularly target nonwhite peoples. Once established, these appetites are nearly impossible to eliminate.”

    • moneytalks
      moneytalks says:

      Psychiatry was invented by the chosenhite jewmasterss and it is employed by them especially to help keep the White Christian sheeple majorities under their control .

      The article did not specify [ what appetites ? ] .

      Is Dr. Moss referring to the “voracious, insatiable, and perverse,” appetites that white Jewish rabbis have for suckling on their bleeding circumsized baby penises ?

      This comment is also posted by at this link __

      • Ned J. Casper
        Ned J. Casper says:

        Readers may find interesting “Let’s use smart psychological science to combat Jew hatred,” by Dr Jonathan Myers, Director of Psychonomics, The Jewish Chronicle (UK), May 14, 2021, online.

    • Pierre de Craon
      Pierre de Craon says:

      Most great classical music can be whistled – the complexity is just in the arrangement.

      This claim about absent complexity was already unsustainable in Machaut’s time (14th century), and that was several centuries prior to Tallis’s “Spem in alium” motet, Biber’s Missa salisburgensis, or Bach’s six-part ricercar from “The Musical Offering”—to cite merely three of many hundreds of still-performed compositions where the complexity is essential to the music’s substance rather than merely to its manipulation. As for whistleability, if you can whistle even one theme from Beethoven’s Seventh Symphony—apart from the one-tone first phrase of the slow movement, that is—my hat’s off to you.

      • anonym
        anonym says:

        Well, the classical music I like can be whistled. Memorable melodies that makes you happy and feel good. The intricate harmonies adds intensity to the melody, but it´s the “simple” diatonic tension and release of the melody that makes it memorable.

        • stretch23
          stretch23 says:

          I am so familiar with your “type” after decades as a classical radio program director. Loooves classical music, but only the good kind. The kind that me and all of my friends agree is the best. Don’t make me listen to something I’ve never heard before; it’s too traumatizing.

  5. Manuel Sotil
    Manuel Sotil says:

    All great composers of “classical music” as WE understand classical music, are white. Yes, there are some good composers of classical music who do not belong to the white race, like Mahler and Mendelsohn, but they are no in the same league as Brahms, Rachmaninoff, Beethoven, Puccini (etc.). Yes, there are genius performers in other races, like Yehudi Menuhin, Arthur Rubinstein for example (of many), even great human beings , but there are no such creators of greatness outside of the white race. I’m sure this fact pisses some people, who try to shoehorn their Bernstein types into the Parnassus of music fully well realizing that they are not fooling the goy.
    The same is true about literature. Although they have more than their fair share of Nobel prizes, something that is really meant to assuage the ego of the underachievers, they can’t never come up with the equivalent of a Dostoevsky, a Bulgakov, a Dickens, a Shakespeare, a Goethe, a Cervantes…
    And last, but not least, there is absolutely nothing that stop the representatives of the offended races or groups from presenting their own masterpieces to enthralled audiences. If they object to classical music, no one is forcing them to listen to any of it and they are completely free to delight in the presentations of their own masterworks (for which I, for one, if given the case) won’t stand in a cue to buy tickets for).

  6. W. Poe White
    W. Poe White says:

    “BIPOCs”? “Orchestral racism”? LOL This grifter of color must be part Jewish. His career is certainly dependent on continued Jewish patronage. I doubt that many Blacks would want to listen to his compositions. He’s only there to add to the culture of critique attacks on White people. The audience for this will be majority Jewish along with some brainwashed Woke White fellow travelers.

    As for Donald Moss’ pseudo-scholarly diatribe against “Whiteness”: This is typical Jewish projection. If you systematically replaced “Whiteness” with “Jewishness” in the paragraph quoted in the article you’d have a statement which was substantially true.

  7. Tom
    Tom says:

    Anything white – bad; anything non-white – good. This is a proposition, and an axiom based on an incomprehensible faith, put forward that cannot be rationally argued against. So why try? It will never do any good. Of course, the stark racism inherent in the proposition must be pointed out but basically one is preaching to the choir. The faithful will never surrender the narrative because there’s fame, money, and even personal megalomania to be had. I think more energy ought to be expended in trying to figure out a way for sensible Europids to “go Amish” – minus the religion and the anti-technology of course.

  8. Karl
    Karl says:

    While there are certainly good Blacks who do not agree with this anti-White hate, I and a lot of other people are tired of endless Black demands, looting, riots, and arson.

    If Black culture is so advanced, point me to someplace in Africa that has it.

    Can you imagine an America dominated by Blacks?

    • moneytalks
      moneytalks says:

      Surely you are begging the question of Black USA hegemony .

      Blacks practically dominate the current USA to the extent the chosenhite jewmasterss allow it to facilitate the Zionist NWO domination agenda .

      If enough of the right people do not get sufficiently organized soon and put a stop to the NWO anti-White agenda , it will be curtains for sure for “The Whites”.

  9. John
    John says:

    Our enemies & traitors r making our military non-European because if we Europeans decide to take back our homelands, our non-European military will b used to kill us. Our enemies & traitors r not stupid, evil yes, but not stupid.

    • John
      John says:

      Here’s proof:
      “US Army Battalion Commander Says That “White People Are Part Of The Problem”.

      • moneytalks
        moneytalks says:

        No doubt they think that .

        The MIC ( includes the Pentagon ) was built by the Jewish Rothschild Empire owners of the U.S. Federal Reserve System ; and they have been stacking the deck with their preferred anti-White indoctrinated flag rank commanders since year 1913 . Fortunately , “The Whites” have hidden intel assets thru-out the MIC ( includes the Pentagon ) .

  10. Manuel Sotil
    Manuel Sotil says:

    There are no great composers other than white. Yes, there are musical geniuses among the non-white as performers, but not as creators of the best music. Some will offer such composers as Mendelsohn or Mahler, but there are no Bach, Beethoven or Brahms (or Puccini, Tchaikovsky…). Same can be said in the field of literature. There are no great writers other than white. There will be plenty of non-white Nobel literature winners, but that is a prize mostly reserved to assuage the political demands of the moment, not on real merit. If there was a Nobel of music, Bernstein would have surely received it.

  11. Ned J. Casper
    Ned J. Casper says:

    Mahler was a good composer, but we all have preferences in any event. Of course, “tin pan alley” and commercialised “discordancy” have their “ethnic” dimensions. I find Spinoza quite profound among philosophers who are rare among Jews in any case. As for the plastic arts and painting, there is something in Disraeli’s alleged comment, “Semitism has destroyed art”. There are quite a number of competent Jewish scientists, notably in the area of “mathematical” analysis. You may be interested in the balanced pre-Nazi references to Jewish psychology by Dr Lenz in the 1927 edition of “Human Heredity” (1931 Eng. tr.) by Erwin Bauer, Eugen Fischer & Fritz Lenz. I am not among those who enjoy a piece of music – until told that it was composed by a Jew.

  12. Patrick White
    Patrick White says:

    Blacks are to music what they are to architecture and space travel. Even jazz and reggae couldn’t have come about without whites, given that we created the very instruments utilised for their production.

    And sure, this must hurt.

    • Ned J. Casper
      Ned J. Casper says:

      Nothing stops black folk “culturally appropriating” western classical music if they are so inclined, for all the afternoon tea in China so to speak. I remember attending an exceptionally moving violin performance by Manoug Parikian after which a well-spoken black graduate said to me: “This music does nothing for people like me.” Sad, but the trouble is that rap does something for people like us which is not so welcome. There is a social downward drive to animal instincts as the lowest common denominator.

    • Pierre de Craon
      Pierre de Craon says:

      Mea culpa, but I had never heard of Cobb and so just now read the linked comments.

      I’ll give him this: he can pack more clichés of (((Establishment))) special pleading into a sentence than anyone I’ve recently encountered who is not currently employed at the New York Times. If Cobb is equally glib in person, he must be in demand for on-air appearances at CNN, PBS, NPR, and the other Narrative outlets.

      Off topic, his first name sounds as if it derives from some concoction, mixed by a Honolulu bartender, that comes in a tall glass with a little umbrella on top.

  13. Martin Velasquez
    Martin Velasquez says:

    The journalistic cast of these news stories
    should be more as wartime events,
    not The New Yorker snark pieces.
    Somebody declare the war we need, please.

  14. Ava
    Ava says:

    MacDonald: 1) Please cite the Frankfurt school works wherein a theory of white ethnocentrism is espoused. I studied the Frankfurt School in graduate school (which I dropped out of due to its meaninglessness) and there was in fact a critique of corporate cultural production. There was NOTHING about gender and nothing about white ethnocentrism. The focus came out of the Marxist focus on economics. 2) Please cite the Marxist work wherein “cultural Marxism” is defined and/or espoused.

    PLEASE CITE IT. PLEASE CITE IT. I CHALLENGE YOU HERE AND NOW TO CITE ALL OF YOUR ASSERTIONS, which to my education and background having actually read and studied Marx and the Frankfurt School, are pure fictions. So, go ahead, PLEASE PROVE ME WRONG. THROW IT DOWN.

    I can assure that nothing about “whiteness” comes out of classical feminism, in which I am also versed. Classical feminism focused on patriarchal social organization and its institutions, most predominantly religion. Matilda Gage wrote at length about the rapes of women by Christian pastors, a practice of rape which continues to this time, this time of children.

    The white movement makes a grave error in rejecting white liberals and progressives who disagree with liberal fascism and “social justice” and whom themselves have been firsthand victims of anti-white racism on the left, as I have.


      • moneytalks
        moneytalks says:

        Thanks for the link to Chapter 5 .

        It is the most erudite analysis by anyone
        of the horrific and lethal intellectual assault
        on Western Civilization ,
        by the Frankfurt School chosenhite jewmasterss
        in their role in the fulfillment of
        the year 1918 Spenglerian prediction of
        “The Decline of the West”.

      • moneytalks
        moneytalks says:

        Dear Professor KMac ,

        I have a somewhat picayune issue with respect to your extraordinary in-depth and detailed analysis , of the crucial existential matter concerning “The Whites” , presented in Chapter 5 : Please identify what the “it” refers to in this first sentence of the Discussion section on page 185 __

        ” The perspective developed here thus inverts the psychodynamic perspective of The Authoritarian Personality because it essentially accepts the data at their face value.”

        Does ” it ” refer to “The perspective developed here”… , or to …”the psychodynamic perspective of The Authoritarian Personality”… , or to …”The Authoritarian Personality”…?

        Your clarification would be appreciated since I just do not have time for what could be a long back search to deductively construct your meaning .

    • ariadna
      ariadna says:

      You might be overestimating both the extent of your required readings and your reading comprehension.
      Do the names Horkheimer, Adorno and Gramsci ring any bells?

      • David Ashton
        David Ashton says:

        The Frankfurt School could be described as a primarily Marxoid and largely Jewish group of social analysts whose by no means closely similar theories developed in response to what they saw as “fascism” and to what they experienced from Nazism. In developing “race and gender” as a supplement to “class” struggle, the key – and most interesting – figure for a considerable period was Herbert Marcuse, whose specific mobilization of students, ‘women’, blacks, sexual deviants and immigrants has been an integral part of the – unfortunately largely successful – “woke” attack against the traditional national, family, military, economic, cultural and spiritual structures of the western world. The term “cultural Marxism” is used mainly by its opponents; its adherents use terms like “critical theory”.

    • Eric
      Eric says:

      Most of the Frankfurt School writings I’ve read canot be described as antiwhite per se. The exception is “The Authoritarian Personality” by four authors, including Theodor Adorno. This book demonizes the characteristics of traditional White American cultural attitudes and institutions as “fascist”. The book doesn’t need to mention the word “white” in order to be anti-White. Apart from that, Herbert Marcuse talked in vague terms about the Third World being a part of the desired revolutionary class.

      It was only later, when the “race-gender-class” grid became the basis for sociopolitical analysis, that antiwhite racism became ingrained in the academic community and, later on, in the media and the public school system.

      • David Ashton
        David Ashton says:

        On Marcuse, see e.g. Michael William, “The Genesis of Political Correctness” (2016) pp.94-99 & references.

  15. Eric
    Eric says:

    I grew up going to the symphony and opera and studied piano and composition. One of the ironies I find in the whole “classical music too white” discourse is that, in the United States for the last 70 years or longer, you could not find a White American man of Christian heritage who conducted a major symphony orchestra if your life depended on it.

    Someone correct me if I’m wrong, but I don’t think I am. The only possible exception I can think of is Eugene Ormandy. Everyone else has had to be a foreigner, unless they are Jewish. And most of the White foreigners have been Jews (excepting Toscanini, who I don’t think was Jewish).

    So, “too White classical music” has been basically Jewish music, not just when it comes to conductors, but to pianists and violinists.

    Now, we know that there have been at least some notable non-Jewish White conductors out there. Von Karajan led the Berlin Philharmonic, regarded by many as the best symphony in the world, and I assume other renowned German and Austrian orchestras were led by non-Jewish Whites after the war.

    So when American symphony boards (probably top heavy with Jews or wallowing in Jewish money) did their searches for conductors, it seems they weren’t looking very hard.

    And Russia, which seems to produce tons of brilliant violinists, pianists and conductors — none of whom appear to be Jewish — seems to have been overlooked. Not to mention Italy, France, etc. So, we Whites of Christian heritage get to be blamed, just as we are in Hollywood (completely run by Jews) for classical music and Hollywood being “too White”.

    Is classical music “better”? It is certainly a great achievement. Only a moron would deny that. But that doesn’t mean other kinds of music aren’t good. Rhythm, for example, is more complex in some other kinds of music. The simplicity of folk music from various countries is not a defect. In many ways, it’s harder to be simple than to be complex.

    So what does this “too White” situation signify?

    Simple grifting. The self-appointed cultural elite (Jews and the Whites they allow to be in the upper echelons as long as they behave themselves) has given an opening to grifters and con artists, and we’re now treated to the spectacle that necessarily ensues when this happens. There is an element of comedy to it — worthy of a satire by Moliere.

    Consider the non-elite White guy. He probably doesn’t know, much less care, about these things. They aren’t on his radar.

    We, on the other hand, are aware and we care, and it is painful to watch. Painful because the undeserving get the laurels, and the deserving get nothing but insults. At the same time, we are in the position of being the guardians, the only people warning of where this could all lead. A thankless situation to be in…

    • Pierre de Craon
      Pierre de Craon says:

      It is hardly surprising that there were no highly esteemed or successful native-born Gentile conductors in the USA during the bulk of the twentieth century. First of all, few Americans had even as much interest in serious music as you do, and before the founding of the Juilliard School in 1905, there were no American conservatories to train young people who were drawn to music, only private teachers. Second, anyone who speaks of “major symphony orchestras” ought to recall that until this century, that was a set with five members. (Even today, the set has no more than eight to ten members, and in my opinion the inclusion of the ninth and tenth requires an act of aesthetic supererogation that not everyone is prepared to make.) So it’s not as if one is talking about the shortage of native-born white Christians among newspaper publishers or editors.

      What’s more, prior to the sixties (give or take a decade), every major US orchestra and performing arts organization was either run by or completely dependent upon one or two rich guys with strong opinions and stronger influence about who to hire and fire. They tended to want the best conductors that their money could buy, and their preferences were mostly for established German, Austrian, Italian, and Central European stars, not upstart kids from Boston, Newark, or Duluth.

      Even today, the man I consider the most gifted US-born white conductor, Dennis Russell Davies, has spent fully half his life and a larger portion of his career in Europe. His love, indeed preference, for contemporary music pretty much stymied any chance he might have had for one of the biggest orchestral posts, and for that reason and to that extent I regret Davies’s musical choices.

      Finally, Eugene Ormandy (born Jenő Blau; 1899–1985) was an Austro-Hungarian Jew from Budapest. He and his younger brother Martin came to the States in or around 1920 and stayed. Martin (1901–1996), virtually a dead ringer for Eugene, was a cellist for thirty-odd years with the New York Philharmonic (I saw him play two hundred times at least). I know from personal experience that Martin was a congenial guy, and by most accounts, so was Eugene.

      • Eric
        Eric says:

        I still think things may have been rigged against White American gentiles, for the simple reason that musical talent doesn’t care about geography or cultural attitudes. White Americans have been tagged as anti-intellectual. We don’t have the rich history of White European culture surrounding us. All of that might be true, but artistic, literary, musical and mathematical gifts, like genius in general, are genetic. Out of five gifted White Americans, four might be discouraged by their cultural milieu, but the fifth won’t be. What outlet will he have, given the obvious prejudice against White gentiles by the powers that be in the arts “community”? He would have to move to another country to have a career — perhaps even in Europe. And then he would face the obstacle that other nations — unlike ours — are protective of their native talent and make it harder for outsiders to break in. I haven’t looked into this, but I wouldn’t be surprised if this is what has happened. The “untalented boob American” is to a large extent a Jewish creation.

        • Barkingmad
          Barkingmad says:

          A woman of my acquaintance was friends with a part-time conductor (of symphony orchestras) who, according to her, was as talented as any full time conductor anywhere, just about. However, he was relegated to filling in for the primary conductor once in a while, as well as obtaining pops-type gigs, etc. from time to time. This woman told me that this was because he was not best of buddies with the right people on the board of directors, management, donors and other movers ‘n’ shakers at the orchestra.

          Well, I’m off for a wee bit; I’m going to go polish and shine my old HvK 33 and a thirds and give them a spin. Hoping it’ll buffer my tribulations somewhat.

        • Pierre de Craon
          Pierre de Craon says:

          Your outlook is simply too ungrounded to suit the circumstances. No matter how “genetic” artistic, literary, musical, and mathematical gifts may be, they are not qualities that can come to fruition in any useful sense without a great deal of formal training and hard work. Athene may have sprung full grown from the head of Zeus, but every other thing or creature grows from a seed. Without water, nourishment, and protection from the elements, neither seeds nor genetic gifts will ever do the society in which they emerge a damn bit of good.

          Put otherwise, for much of its history, this country was sorely lacking in the institutions and the popular interest and support necessary to bring the potency of artistic gifts to actuality or, for that matter, to give substance to any charges of gifts ignored or discriminated against.

          • Al Ross
            Al Ross says:

            The Fitzcarraldo Defence.

            You know more than enough , Pierre , to apprehend the fact that European Culture cannot be accelerated to match American , or any other country’s economic growth.

          • Eric
            Eric says:

            Even if you go by your 1905 date (founding of the Juilliard School), that has given the U.S. a period of 116 years to educate some native-born non-Jewish conductors. But that date means little, because Americans could go to Europe before 1905, and many did. The United States has a proud native cultural tradition that evolved out of its English and, later, more broadly European roots: This is particularly evident in in the writings of the Founding Fathers and in our national literature: Hawthorne, James, Melville, Poe, etc., all the way up to Ezra Pound. It is clear to me that the Jews taking over publishing houses, museums and other cultural institutions (a process that began around 1900 and was completed within the last decade or two) is what has been responsible for the lack of visibility of native gifts.

          • Pierre de Craon
            Pierre de Craon says:

            The United States has a proud native cultural tradition that evolved out of its English and, later, more broadly European roots[.]

            I’m sorry, but what does this have to do with music and opportunities for high-level musical employment? With regard to music, England is, after all, the nation that was once widely referred to by Austrians and Germans as “das Land ohne Musik.”

            Even with reference to literature, how can you say with a straight face that American literature evolved and broadened from its English beginnings? What more broadly European root did Pynchon or Barth or even de Lillo “evolve” from? You’d be far better off to leave “evolution” in peace on the shelf and claim instead that, at least after Hawthorne, the worthiest American fiction writers—notably Twain and Faulkner—were virtually sui generis and, as such, wrote works that had little in common with any antecedents other than Defoe’s “Robinson Crusoe” and Sterne’s “Tristram Shandy,” which themselves had “Don Quixote” as a remote ancestor. (I suppose there is your Spanish root pushing its way through the crannied wall.)

            Granted, Tom Wolfe’s novels are distinctly reminiscent of Balzac’s, but since Wolfe had declared publicly that he consciously chose Balzac as a model, the outcome can hardly be called a product of evolution.

            As for pride and its utility, please recall Proverbs 16:18.

          • Pierre de Craon
            Pierre de Craon says:


            You know more than enough, Pierre, to apprehend the fact that European Culture cannot be accelerated to match American, or any other country’s economic growth.

            Doesn’t this precise idea underlie the first sentence of my opening comment?

            It is hardly surprising that there were no highly esteemed or successful native-born Gentile conductors in the USA during the bulk of the twentieth century.

            Or do I misunderstand you? That’s by no means impossible.

            Also, I must beg your pardon regarding “Fitzcarraldo Defence.” I simply don’t know what it refers to.

          • Eric
            Eric says:

            “I’m sorry but what does this have to do with music and high-level opportunities for musical employment?”

            My point is that White Americans of European Christian heritage aren’t the boobs you apparently think they are. We have a distinctive and laudable cultural history that evolved out of our European (including Britain and Ireland) heritage.

            Evolution — do you understand that concept? You don’t jump from Melville to Pynchon. There are steps and cultural influences in between which, in the case of more modern writers, will make what they have in common with Melville little more than a shared language (much altered). That doesn’t mean American literature didn’t evolve from its English antecedents. The very language in which it is written is English!

            What is the relevance of your “Pride goeth before a fall” quote to this particular conversation? As a White American of Christian heritage, I’m not allowed to defend my fellow White Americans of Christian heritage? Well, thanks for the proverb reference, but I don’t need your approval.

          • Eric
            Eric says:

            As for your “das Land ohne Musik” remark about England, plenty of Germans settled in the United States. So that argument doesn’t work either.

          • Pierre de Craon
            Pierre de Craon says:

            My point is that White Americans of European Christian heritage aren’t the boobs you apparently think they are.

            I neither wrote nor implied anything of the sort. Do everyone the courtesy to read more, reflect more, and blather less.

        • Eric
          Eric says:

          Pierre de Craon: Your own words: “…few Americans had even as much interest in serious music as you do…upstart kids from Boston, Newark or Duluth…without water, nourishment, and protection from the elements, neither seeds nor genetic gifts will ever do the society in which they emerge a damn bit of good. Put otherwise, for much of its history, this country was sorely lacking in the institutions and the popular interest and support necessary to bring the potency of artistic gifts to actuality or, for that matter, to give substance to any charges of gifts ignored or discriminated against.”

          The picture you paint is one of a land of uncultivated boobs. It does not jibe with the cosmopolitan sophistication of our nation’s founders, with New York City becoming a major international center in the late 1800s, with the reception of Puccini and his operas in New York, with the hunger for music that resulted in hundreds of small, independent companies filling American homes with pianos, etc.

          From the Jamestown and Plymouth settlements to about 1900 the colonies and eventual nation of the U.S. were both a frontier society and a settled society. Virginia and the South had a strongly aristocratic flavor. And into the 1900s there was immigration from Europe: French, Italian, Scandinavian and German in addition to English and Dutch. There was a considerable back and forth flow between the colonies/U.S. and Europe.

          I should think it would be easy here to get people to agree with me that Jewish control of our cultural institutions (now almost total) would logically result in the hated White goyim of Christian heritage getting the short end of the stick. But apparently not…

          • Pierre de Craon
            Pierre de Craon says:

            Thank you for first quoting me before proceeding to demonstrate that you have no idea what the quoted matter means or entails.

    • Barkingmad
      Barkingmad says:

      From good ol’ Wikipedia:

      “Ormandy was born in Budapest, Austria-Hungary, as Jenő Blau, the son of Jewish parents Rosalie and Benjamin Blau, a dentist who was also an amateur violinist.[3] Ormandy began studying violin at the Royal National Hungarian Academy of Music (now the Franz Liszt Academy of Music) at the age of five. He gave his first concerts as a violinist at age seven and, studying with Jenő Hubay, graduated at 14 with a master’s degree. In 1920, he obtained a university degree in philosophy. In 1921, he moved to the United States.”

    • W. Poe White
      W. Poe White says:

      America has produced some notable White (non-Jewish) composers and performers. Van Cliburn was a great pianist. Roy Harris and Samuel Barber were great composers. Charles Ives was a visionary first rank composer.

      The culture of the West has been increasingly taken over and rendered noxious to White European spirit over the 20th century. We could have done so much more, it’s definitely in us to be great artists, scientists, philosophers and scholars.

      We need our own schools, libraries, orchestras and other cultural institutions to bloom. Too often the cuckoo cacophony of Jewish hatred, bad metaphysics, paranoia and mania for power drowns out the still small voice of our inspiration. Speaking for myself, I’ve never felt free and at home in their presence. I always felt embattled trying to express my authentic self in social environments carrying their stamp.

      There has been so much promise in the developments of the last couple centuries in the West. Yet it has all somehow mostly been turned aside into toxic trajectories. Sometimes it breaks my heart thinking about what might have been. Robert Frost’s poem “Pod of the Milkweed” captures very well the tragedy of America and modernity. So does the closing scene of Citizen Kane. And the elegiac concluding section of Roy Harris’ Third Symphony.

      Nevertheless, there are still good and hopeful developments occurring along side the dark ones. Some good science and good scholarship is still getting done, The awakening to political and social realities like the JQ and racial realism which has been spreading among our people since about 2016 is a hopeful sign. Never give up!

  16. Forever Guilty
    Forever Guilty says:

    “This is nothing less than a recipe for the genocide of Whites as incurable racists. The hatred is obvious, and it’s no accident that the writer is a Jew “

    Absolutely, first Jews stole election. Second they populated President-installed team. Now there are probably more Jews in Biden government then were in first Bolshevik government In Russia in 1917. It’s not finished well for Russian People.

    And now, they are think, that they are invincible. So they can “come out” with open in your face calls for our extermination.

    And they they do necessary background preparations as well. For example Jewish Vulture Fund Blackrock using money from Jewish owned Federal Reserve buying wholesale single home suburbs – last refuge of White People.

    They do everything to repeat it 110 time.

    • Oscar Wilson
      Oscar Wilson says:

      Will TOO publish proof rather than post assertions that “the Jews” are planning literally to exterminate all the other Europid peoples and explain their motives in so doing?

      • Eric
        Eric says:

        Will you explain why Jews have pushed for massive nonwhite immigration into majority-white (of European Christian heritage) nations while rejecting such immigration into their own nation, Israel?

        • Eric
          Eric says:

          And while you’re at it, will you explain why virtually every book and article bashing “my fellow whites” is written by a Jew?

        • Oscar Wilson
          Oscar Wilson says:

          @ Eric

          Given their unique cultural character and diasporic experiences in the exclusive national territories of others, Jews feel more comfortable in “multicultural” societies. The Nazis accelerated their opposition to “racism” (of other peoples) and their post-WW2 support for a “national” state for themselves. Some of them have modified their standpoint, like the sea-change from Marxism to Zionism, after realising that Muslim and other global-south immigrants into Europe are hostile to Israel and Jews in general, that blacks in the USA are particularly envious of their wealth, and that the Ashkenazi IQ is not as low as “racist” opponents of Jewish immigration into the USA and UK believed before WW2.

          Consult also Jewish writers like Byron Roth, Michael Levin and John Glad, and also Michael B. Hart, “Jews & Race: Writings on Identity & Difference, 1880-1940” (Brandeis UP 2011). It is important to study what they say, and to analyse their views critically, not just to shut your eyes to them.

          Supporting miscegenation is a misguided policy that now threatens Jewish “continuity” itself. Jewish supporters of mass-immigration and mass-crossing can be condemned, whatever their numbers, influence or motives. Jewish opponents should not be attacked. Of course, race-crossing on any scale is extermination of a sort, but it is not a Jewish or Israeli interest to destroy their “Aryan” economic base, and leave the planet to the Chinese, Africans and Arabs over whom they have no influence or cultural compatibilty.

          I understand you believe in the predominantly Jewish collection of writings known as the Bible. The OT records literal genocide against various local opponents of the Hebrews, but the Jews expect(ed) not the annihilation of the Gentile nations but tribute from them (e.g. Micah 4.2).

          The general pros and cons of Israel itself are another issue. But there are non-Jews already in Israel, and some non-Jews have been admitted over the years. However, the Palestinians will not be allowed to return. Most Israelis object to the immigration even of highly skilled Gentile immigrants (Pew report).

          • Eric
            Eric says:

            Nothing you have said inclines me to alter my opinion that 1) Jews want Whites of European Christian heritage to be eliminated from planet earth, and 2) that they are doing everything they can to make that happen..

            They have openly declared war on us.

            We must react accordingly.

      • moneytalks
        moneytalks says:

        Do you think that actual conspirators are sheeple afraid of their own shadows ? Do you think it is possible that if TOO published names and addresses of conspirators they might consider you an accomplice for TOO doing it ? Do you like being alive as in not assassinated ?

    • Barkingmad
      Barkingmad says:

      Re Blackrock. Yes, younger folks can’t afford to buy a single family house so it’s a lot easier to just rent. In time, they’ll be kicked out of their homes, I predict. To be replaced by more suitable tenants.

      Can you imagine – buying thousands of houses at above-market price.

      • moneytalks
        moneytalks says:

        It is easily imagined when you discover the fedgov is subsidizing Blackrock investments ; and when you discover the White middle-classes are the largest ultimate underwriters for all of the USA fedgov debt ; and when you discover the conspiracy to genocide Whites and thus eliminate any resistance to their underwritten transfers of collateral wealth in repayment for the subsidy money borrowed from the privately owned U.S. Federal Reserve System .

  17. Edward Harris
    Edward Harris says:

    Long ago I helped the son of an African professor with a few Physics problems.
    One day I was talking to the student’s father.
    He told me that the UK made the mistake of sending students to Oxford and Cambridge and filling their heads with waffle about Shakespeare instead of turning out engineers and doctors which is what Africa needs.
    In the student’s house I was able to read an African exam paper set by Cambridge in which a European Symphony Orchestra was compared to an African gathering of musicians using the local instruments. Both orchestras have much in common, according to the paper.
    When I attended London Loonyversity a sociology student told me that we in the West could learn much from African culture!
    My late brother worked on the theology syllabus at Cambridge but resigned because the bad mad parts had to be left out of the syllabus for Islam.
    I could say a lot more, but will only say that all this was caused by the East Europeans who converted to Judaism. They destroyed us and murdered millions of Russian Christians.

    • TJ
      TJ says:

      Jewish are a people in the biological sense, not a religion.

      To be a Jew means to have a Jewish mother. To “convert” to Judaism would require a DNA transplant.

  18. bruno
    bruno says:

    Ah, I just love KMac’s soul. This piece had me shut my eyes and reflect. Oh, how I used to love to go to concerts in Warsaw, to sit and listen to violins and other instruments, where everything was Lily W. It’s a special feeling that many could not comprehend.

    There’s one cultural event I shall never forget as long as I shall live. It wasn’t lily white. There was a special concert being given. The performers were a group of North Korean female dancers and singers. I was an invited guest and the hall consisted mostly of diplomatic corp personalities and businessman from communist countries. The auditorium was mostly Asiatic and European. As you could expect politeness, proper dressing and culture could not have been better. Later that month, for some reason, I was in the US. This was at the beginning of a TV cultural change. I forgot the year, but it was when advertisements started to change. After dinning in the a Korean restaurant one walked with friends to his nightly quarters near the UN. Noice was unbearable. However, those owning the quarters didn’t seem to hear a sound. Ambulating on the streets of New York City I witnessed boom boxes and rap screaming. It was shocking and a new experience. the soul was released when leaving the airport and returning to Mother Europe. Ah, the evolution of Western man. Now it seems everyone has become accommodated through a new culture that’s coloring and painting over much of Western civilization. This piece was immensely appreciated.

  19. ChilledBee
    ChilledBee says:

    Darnella Frazier, the teen who filmed George Floyd’s murder, wins honorary Pulitzer

    What a time to be alive.

  20. Some White Guy
    Some White Guy says:

    Some decades ago, I attended a concert of the San Francisco Symphony billed as “Rhapsody in Blue – in the original, as composed”. The guest pianist was not only a black man, but a BLIND black man. The piano performance was appallingly bad, little if any notes resembling the familiar tune of Rhapsody in Blue. The pianist was clearly lost and in over his head.

    But fear not! The idiotic 99% white audience jumped to their feet, clapping and barking like seals at the end. I silently sat in my seat and marveled at the unearned fawning praise gushing from every corner of the concert hall. To my delight, the concert review in the next day’s paper confirmed my perceptions as it skewered the pianist’s playing as a complete disaster. These days, that review would never be written. Instead, we’d get a page worth a fawning tripe.

    Every time I think it cannot possibly get worse, it does.

  21. Jez Turner
    Jez Turner says:

    Here’s a quote, to cheer you all up, from The Prince of Pianists, the Romanian Dinu Lipatti (1917-1950), who many maintain was the best pianist ever; “ I played in Berlin in 1940 where severe characters dressed in black barely raised their eyebrows when they smiled – I liked them. “ He did three tours of Axis countries during World War II, and continued playing throughout post-war Europe despite the worsening Hodgkin’s disease which led to him dying at the young age of 33. His final recital (at The Besancon Music Festival, France, 16th September 1950) can be heard online and the last piece he played at this recital, JS Bach’s ‘ Jesu Joy of Man’s Desire ‘, is particularly poignant.

  22. W
    W says:

    What if one were to write

    Jewness is a condition one first acquires and then one has—a malignant, parasitic-like condition to which “Jew” people have a particular susceptibility.
    The condition is foundational, generating characteristic ways of being in one’s body, in one’s mind, and in one’s world. Parasitic Jewness renders its hosts’ appetites voracious, insatiable, and perverse.
    These deformed appetites particularly target non-Jew peoples. Once established, these appetites are nearly impossible to eliminate. Effective treatment consists of a combination of psychic and social-historical interventions. Such interventions can reasonably aim only to reshape Jewness’ infiltrated appetites—to reduce their intensity, redistribute their aims, and occasionally turn those aims toward the work of reparation.
    When remembered and represented, the ravages wreaked by the chronic condition can function either as warning (“never again”) or as temptation (“great again”). Memorialization alone, therefore, is no guarantee against regression. There is not yet a permanent cure.

  23. Joe
    Joe says:

    No offense to Herr Beethoven, but in my opinion, Johann Sebastian Bach’s music towers above all else. No other music reaches the intricate (yet sublime) counterpoint and depth of Divine inspiration than does that of the Cantor of St. Thomas. Most folk of the lower races cannot comprehend even one bar of his works, let alone entire compositions. The essence of their “art” proves this. Pure noise.

    • Barkingmad
      Barkingmad says:

      Joe, you are so right about JSB. Really, he is almost an anomaly, so far above everyone else does he stand. I’m speaking here of his entire body of works; there’s other composers who have also produced magnificent music, but not in such quantity. Little pieces, large pieces – all wonderful.

      OTOH, there’s his Concerto in a for FOUR – count ’em, 4 – harpsichords. Having 4 instead of two (at most) adds nothing. It all sounds rather clattery to me, but then I am not a musicologist. I am sure you’ll let me have it with both barrels…

      • Pierre de Craon
        Pierre de Craon says:

        Dear B: It is a piece that profits greatly from being heard in live performance, as the eye gives invaluable aid to the ear in discerning order in what otherwise seems mere clangor.

        All of Bach’s surviving keyboard concertos are arrangements of other music, either by Bach himself or by others, though not all of the originals have survived. The concerto for four keyboards is a straightforward arrangement of a concerto for four violins by Vivaldi, with added harmonization especially in the keyboard parts.

        As all of the fifteen (or so) surviving concertos involving one or more keyboards are known to have been composed for the Leipzig student group known as the Collegium Musicum, it has been speculated that this work might have been intended either as an exercise in ensemble work for the student keyboard players or else as a musical tribute to the Venetian composer from whose music Bach felt he had profited so much.

        • Barkingmad
          Barkingmad says:

          @PdC: Well. Of course that is true about being right there to watch musicians play this work. I wonder if before I depart this cursed society I will have the opportunity… Thanks for all the info. Apparently a fair bit of Bach’s work has been transcribed this way or that.

          The above is like a scene from a Fellini movie, as one commenter wrote. Julian Bream playing BWV 999. Better than harpsichord, lute, piano, anything. I never get tired of this, not the music, not the somehow rather odd folks, not the atmosphere. It is haunting. Yes, this tiny musical event was put together by professionals and edited this way and that, to perfection. Apparently that’s Johnnie and Fanny Cradock in the audience. Some commenters think that is Zbigniew Brzezinski there, too. I wonder if they had any real appreciation.

      • Pierre de Craon
        Pierre de Craon says:

        P.S. I hit Post Comment sooner than I meant to; specifically, before identifying the Vivaldi original. It is op. 3, no. 10, the opus as a whole being called “L’estro armonico.”

  24. Ned J. Casper
    Ned J. Casper says:

    Re Marcuse &c and “race, gender, class”.
    “Who are the minority who are to rescue the [mainly white working-class] majority by transforming them?
    Marcuse’s collection of revolutionary forces is a list so familiar in fashionable radical circles…the student movement in the US, the black population of the urban slums in the US, the Chinese cultural revolution, the NLF in Vietnam, Cuba… These forces have only one thing in common…conflict with the established order…it was left to Marcuse to profess a belief in a dictatorship by a minority.” – Alasdair MacIntyre, “Marcuse” (Fontana 1970) pp.88-92.

    Jack Jacobs, “The Frankfurt School, Jewish Lives, and Antisemitism” (CUP 2016) is an informative companion to MacDonald’s “Culture of Critique”.

    The integration of Antonio Gramsci’s superstructure-control notion, and methods, into “academic” woke activism has been a revolutionary development built on the Marcusean basis. Incidentally, his letters on the Jewish question are now available on the internet.

    Not all attacks on “white civilization” are from Jews; there are Jews who take a different view.

    • Oscar Wilson
      Oscar Wilson says:

      @ Mr Casper
      You are wasting time trying to qualify let alone change the opinion of commentators like Mr Eric that “the Jews” have “openly” declared their aim physically to “eliminate” white people from the planet earth, since the onus of conclusive proof remain with him. Perhaps he should tell the notoriously voluble Alan Dershowitz who has praised the new parliament in Israel itself as especially diverse in creed, ethnicity, sexual orientation, disability and even color (Gatestone, June 17 online). The only effect of bigot-blogging is its utility to ADL and suchlike in attacking TOO as a site of hate-motivated cranks.

      • Eric
        Eric says:

        It doesn’t take my bluntness to get the ADL to attack TOO as “a site of hate-motivated cranks.” The ADL attacks Tucker Carlson and he doesn’t even mention Jews in his commentary. As for Dershowitz (speaking of cranks), no one should take that man (“they have an absolute right to plunge a needle into your arm”) who defends torture seriously. Yes, yes, yes, we hear it over and over again: Israel is all fluffy rainbows chock full of diversity and democracy. Well, good luck selling that here. Israel has spent the last 73 years ethnically cleansing Palestinians, including Palestinian Christians. It is every bit as bad as the Nazis ever were. If Jews don’t want me to accuse them of wishing to physically eliminate non-Jewish White people from planet earth, then they should stop writing books and articles that bash “my fellow White people” and they should stop pushing for massive Third World immigration into the United States and Europe.

  25. Stuart Jacobite
    Stuart Jacobite says:

    «My grandmother reminded me of my obligations as a Jew. She said I was twice indebted: to her for the blood she had once given me and to Abraham for everything else. She said these debts must be honored. Until they are honored, she said, dying was not within my rights. She said: “You are our only revenge. You are our Hitler. Promises have been made. The dead are watching and must not be disappointed.”

    She said the machine will work forever. In America, every part can be replaced. Every vital fluid can be found, everything kept clean. What has been done once can be done again. What has been achieved can be repeated.

    She said: “You will die only by an act of will. As long as you are alive, Hitler has lost.”

    All of these things were encouraging.»
    —DONALD MOSS, “Thirteen Ways of Looking at a Man: Psychoanalysis and masculinity” (Ch. 4, p. 46)

  26. Ned J. Casper
    Ned J. Casper says:

    @ Eric

    To clarify: I have nevee defended the Israeli expulsion of Palestinians. You missed the irony of Mr Wilson’s reference to Dershowitz, whose view of that particular matter was ably refuted by Norman Finkelstein (another Jew, oh dear!). Not all Jews “bash white people”, still less now they are themselves attacked as white colonialists by the Woke, non-Jew and non-Zionist Jew included. Besides, many Jews – if only for reasons of self-interest – are no longer pushing for mass immigration from the Muslim world; some strongly oppose it.

    You should “get out more”, read more widely, and reconsider your own “interpretation” (cf 2 Peter 1.20) of selected verses in your edition of the King James Bible regarding what Jews called Matityahu and Yohanan ben Zavdi apparently wrote about the execution of another Jew called Yeshua nearly 2000 years ago. Nor would that event explain the (non-existent) “open declaration” by the Jews that they seek to murder some 600 million people on whose economic production they depend.

    As for Marcuse, he saw the black communities and student rebels inside the USA among the triggers for revolutionary change, along with the feminist movement; he did more than make vague allusions to the third world.

    Moderator, I promise not to proceed further with any “spat” with Eric who manifestly has failed to prove his point.

    • Eric
      Eric says:

      I never said you defended the Israeli expulsion of Palestinians. Nor did I say all Jews bash White people.

      Regarding 2 Peter 1, the point being made is that the disciples were witnesses to actual events, not just accounts of events or words in a book.

      Of course, you take all of this out of context. And by your “reasoning,” if I can’t interpret Scripture, then nobody can. Which, of course, is absurd.

      My reading of Marcuse is correct. What he has to say about the Third World as a revolutionary force takes up not more than one or two paragraphs in the several books I’ve read by him. Probably less.

      You are either Jewish or a goy apologist for Jews. If you want to come at me or other people here, please do so with better arguments. Not strawman fallacies, appeals to authority, misstatements of fact, and other such drivel.

      • Oscar Wilson
        Oscar Wilson says:

        The specific and important allusions by Marcuse to revolution oustide the west in the third world were not the main point at issue here. The point was that he explicitly supported “rebellion” inside the US, via the black “ghetto” and student communities &c as internal “liberation” catalysts. See e.g. his “Essay on Liberation” (1969); Douglas Kellner, “Herbert Marcuse & the Crisis of Marxism” (1984) p.303; John Button, “The Radicalism Handbook” (1995), p.231-232. Marcuse was not the only Jewish “revolutionary”, of course, and there were also non-Jews from Angela Davis and Malcolm X in the US to Stuart Hall and Ambalavaner Sivanandan in the UK. They have all had Jewish critics as well as non-Jewish white supporters.

        It is at best pathetic to suspect people who attempt to introduce nuance or balance into a discussion of Jewish influence of being Jews themselves or Jewish agents. What could be said instead of bloggers whose view of Jewish power is such that it would be futile to oppose it?

        One can agree that the ADL in particular is contemptible for advocating polyethnic mass-immigration into the US while protecting Israel from criticism as an ethnostate.

        • Eric
          Eric says:

          My initial statement was that there was nothing explicitly antiwhite in the Frankfurt School writings of Marcuse, Adorno and Horkheimer, and the only book that might be considered implicitly antiwhite was “The Authoritarian Personality” for reasons I have already given. I also said that nonwhites and the Third World are a very minor concern of these authors, and I stand by that statement.

          Of course “minor” must be understood in terms of the amount of reading I’ve done by these authors. I’ve read the following books: Marcuse: “Reason and Revolution”, “From Luther to Popper” (formerly “Critical Philosophy”), “Eros and Civilization”, “One-Dimensional Man”, “The Aesthetic Dimension” and “A Critique of Pure Tolerance”. Adorno: “Hegel: Three Studies”, “Prisms”, and “Negative Dialectics”. Horkheimer: “Critique of Instrumental Reason” and “Eclipse of Reason”. I read these books more than 25 years ago.

          You and your tag team partner Ned Caspar (the same person?) are not attempting to introduce nuance or balance into the conversation. Instead, you (as a team) are putting words into people’s mouths, misquoting the Bible, demeaning Jesus (below), making appeals to authority instead of arguments, etc. And is it just a “cohen-cidence” that all of this appears to be an attempt to defend Jews? You have a perfect right to do that, and I have a right to point that you’re doing that.

  27. Oscar Wilson
    Oscar Wilson says:

    The New Testament is virtually only the evidence we have regarding the “race” of Jesus, whether he was the incarnation of God or just a human being. He clearly challenged the ethnocentrism of the dominant Judaism of his day and the Judean leadership, but did not repudiate the messianic title. According to the NT, his mother was a Hebrew who brought him to the Temple in Jerusalem, he was addressed as a Jew (John 4.9), as a Rabbi and son of David, and allegedly buried in accord with Jewish custom. He is also called therein a descendant of the tribe of Judah (Hebrews 7.14) and its Lion (Revelation 5.5) – what else could this mean etymologically and genetically other than that he was born a Jew?

    • Eric
      Eric says:

      Most Whites consider themselves to be Christian. Christians believe Jesus is God manifested in human flesh. God/Jesus existed before there were any Jews, so your attempt to reduce Jesus to his Jewishness can only be regarded as offensive to the majority of Whites. And, given that TOO and TOQ seek to promote the interests of Whites of European Christian heritage, your statement can only be regarded as hostile to that purpose. It is the sort of statement I would expect to be made by a Jew seeking to subvert societies that are predominantly White of Christian European heritage.

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