Vanguard News Network

I doubt much will come of this Negroid-ization of country music. Blacks have their own music and don’t normally listen to anything Whites listen to. In fact they make a concious effort to avoid listening to any music that’s popular with Whites. Yet many White people are big fans of Negro singers like Whitney Houston and Lionel Ritchie. However, I believe the infatuation with “gangsta” rap is finally coming to an end among White suburban teenagers.

Country had its “glam” period: Consider the hair style changes of George Jones (The Possum). And it has had its Blacks, primarily Charlie Pride. But, ultimately, who cares? It has long celebrated much of the worst aspects of life and show business. It was George Bush senior’s favorite music, he said. I find much of it depressing. Have a look at arguably the more upbeat, no pun intended, treatment of better subjects at http://www.RidersInTheSky.com instead.

I will stick to Beethoven and Chopin.

I’ll stick with Karen!

Any music that jews hate must be good, just think of Wagner. The original White Power composer!

Bands like AC/DC, Led Zeppelin and the Rolling Stones attract vast legions of White fans, but all have their roots in Negro Blues music from the Mississippi River region. Country music, on the other hand, is derived mostly from the Anglo-Celtic folk songs of the British Isles. Also, I don’t think there is a lot of Jewish influence on the Nashville/country music scene, whereas rock and pop music are strictly under Kosher Kontrol. I’m no real fan of country music, but it is more White in its origins and under less Jewish influence than other forms of Western music. And its songs are mostly about the hardships of the White working man, which is a worthy subject to sing about.

As far as classical goes, apparently only Jews and Chinks can perform Chopin’s polonaises and Bach’s suites for unaccompanied violin. The Jews completely took over the classical music scene decades ago. There were only two great Aryan conductors in the last 70 years, Hans Knappertsbusch and Herbert Von Karajan and both of them were from the Third Reich. But now, Jewish conductors like Maazel, Levine and Barenboim regulary conduct performances of The Ring Cycle, for god’s sake.

I don’t know if someone here showed me this or what but I think this is a good place to put it. It’s a great vid of the Hag seeing a white pride song. Nope, the jews did not let him put it on the album.

http://current.com/items/89790773/merle_haggard_just_a_white_boy_trying_to_find_a_place_to_do_my_thing.htm

Uppity negro vandalizes graves Confederate flags

4/24/2009, 2:45 p.m
The Associated Pricks

by Andrei Yustschinsky, UNO (Uppity Negro Observer)

(AP) — AUBURN, Ala. (AP) Several Confederate flags placed on the graves of Civil War soldiers got pulled up by an uppity negro Auburn city councilman, who called them symbols of “racism and hatred”.

Mary Norman, president of Auburn Heritage Association, said she was at her family’s burial plot in Pine Hill Cemetery when the negro Councilman Arthur Dowdell removed the small Confederate flag from her great-grandfather’s grave Thursday afternoon.

“That goddamn little negra boy pulled up the flag, snapped it in two and put it in his car,” said Norman, who is white.

The lying colored boy Dowdell said Friday he did not break the flag’s stick “intentionally”. Instead, it broke when he pulled it out of the ground. But, he said, “I should have broken them all. They are offensive to me. They represent racism and the Ku Klux Klan.”

The negro Dowdell, who was elected to the City Council in 1995, said he was motivated to act when he went to pick up his (?) daughter Thursday afternoon from her school near the cemetery. He said some parents (black & White?) complained to him about small Confederate battle flags being on graves throughout the cemetery in downtown Auburn.

The negro Dowdell said he drove to the cemetery and saw it decorated “like a Klan rally or a skinhead rally.”

“It’s intimidating to black folks, and it’s intimidating to me as a civil “rights” leader,” he said. The balzy colored boy Dowdell said he pulled up four flags and left.

Norman, a member of the United Daughters of the Confederacy, said other UDC members placed the flags on the graves of Confederate veterans because Sunday is the official day for Confederate Memorial Day and Monday is the state holiday for it. She said the flags marked the graves of 75 known Confederate soldiers in the cemetery and a monument for 98 unidentified Confederate soldiers also buried there.

She said (in an apologizing manor) putting the flags on the graves of Confederate veterans for a few days around Confederate Memorial Day has nothing to do with race or hatred. “This has been a tradition in Auburn for over 100 years,” she said.

Mayor Bill Ham Jr. said the city of more than 43,000 residents had never had any problems with previous Confederate Memorial Day observances. “This was a shocker,” he said.

Ham said (in a meek speaking voice) he was troubled that anyone would remove an item from a grave without permission. He said he had received more than 20 phone calls about the removal by Friday afternoon and all were opposed to what was done.

Norman said she and a friend were in the cemetery doing research for a book about the historic burial ground when the negro Dowdell pulled up the flags. Her friend took a photo of him leaving the cemetery with the flags. Norman is now contemplating whether or not she will sell the picture and the story to the NATIONAL ENQUIRER®.

“I don’t think you can go and desecrate graves, and that black boy desecrated graves,” she said.

The uppity negro Dowdell said other city cemeteries have restrictions on what can be placed on graves, but Pine Hill Cemetery does not. He said he will ask the City Council to pass an ordinance allowing the flags for only 24 hours on Confederate Memorial Day and requiring a sign explaining their presence.

“We don’t have anything like those flags flying four days before Martin Luther King Day. We celebrate it on that day,” the wayward and disrespectful negro said.

Andrei Yustschinsky reporting from “on the spot & in an empty lot” across the street from Pine Hill Cemetary, 102 N. College St. Auburn, AL 36830

Information from: Opelika-Auburn News

Copywrong 2009 Associated Pricks. No rights reserved.
This material can & will be published, broadcast, rewritten, or redistributed.
© 2009 al.com No Rights Reserved.

Bands like AC/DC, Led Zeppelin and the Rolling Stones attract vast legions of White fans, but all have their roots in Negro Blues music from the Mississippi River region.

Yaaaawn. This is why I find WN so fucking dreary. We can’t listen to thus-and-such music because it happened to have it’s roots in something Sambos did. Never mind that whitey perfected it and made it listenable. “It must be shunned!” I swear the orthodoxy of thought in these matters is fucking ridiculous. Listen to what you want but fuck off with your proscriptions.

I hasten to add that Kent hit the nail on the head. Yes, Rock may have had some non-white influences but why is it that these white Rock groups’ music has stood the test of time? Yes, some of it was no doubt due to media (over)exposure but all the exposure in the world can’t make up for lack of real talent. These bands were genuinely talented and took primitive “roots” music – some of which was incorporated from the folkways of non-Whites – and made it listenable and even, at times, stirring. Whites took rock and added alternate arrangments, classical instruments, and more complex lyrical themes by the 1970s. No doubt many of these lyrical themes pushed dysgenic ideas – chalk that up to the MSM brainwashing that was being pushed on the West even then – but the fact is that Whites made Rock more effective on the listerner on a much deeper level than it had been during the idiom’s early near-monopolization by non-whites. Compare much of White-dominated Rock with virtualy all of Black “Funk” music during, say, the mid-1970s. The White Rock scene by then had developed a rich diversity of music, the Black Funk crowd was still writing just about intercourse punctuated by a heavily rhythmic beat, attacking song-writing with a cookie-cutter approach. That contrast alone speaks volumes.

I’ve said it before and will again, “Country Music” per se was invented by Jews to provide a vehicle to sell stuff-initially, laxatives-to hillbillies with battery or wind generator radios. The big AM clear channel stations could cover a huge amount of rural areas at night but the rural dwellers didn’t like what city people listened to, like Paul Whiteman and radio dramas set in the city. “Country music” was the hick white version of “race music” in that it was adapted from existing forms and given a slant for an audience who didn’t like the mainstream brand and whose tastes were not salable to the majority either.

Almost all the early country music was published by Hill and Range, the Auerbachs. As far as is discernible, they went easy on the propaganda part because at that stage they just wanted market penetration and revenue. Country didn’t get subversive at all until the 70s when feminism started cropping up, but until recently the vast majority of country music sales were in the Scots-Irish South, which limited things. Today urban white females are the target demo, with predictable results.

Bret Ludwig Says: “Toscanini and Furtwängler were Jews? I don’t think so.”

Well, not quite. But close.

We know when somebody is heavily touted by the music “industry” (just as with art), there must be some deeper reason. A reason going beyond music or art.

Both Toscanini and Furtwängler may not have been Jews, but they were “politcially corect” enough to pass the kosher test. Toscanini, especially, was strongly anti-fascist and thus served a political/ideological purpose, and so he was touted in America as the world’s greatest conductor. He was brought to New York and made head of the NBC Symphony Orchestra which was specifically created for him. NBC, of course, was owned by David Sarnoff. If he has been politically on the other side, no one would have heard of him here. Also, though not a Jew himself, there was that requisite Jewish connection: Toscanini’s daughter was married to a Jew, Horowitz. So he had a Jewish son-in-law, at the very least. I can’t say about any Jewish connection in the case of Furtwängler — but there almost always is one, somewhere. Do note that Jews were fond of him and defended him. This would not have been without some reason.

In 1931 he became joint musical director of the Bayreuth Festival on an equal footing with Arturo Toscanini. Two years later he became the director of the establishment; he took on numerous Jewish artists, which was strongly criticized by the National Socialist regime. In December 1934 he resigned his post ‘for political reasons’. After that he received invitations from all over the world to conduct symphony concerts and operas as a guest conductor … Philadelphia, New York and Vienna offered him the directorship of their opera houses… The ‘Hindemith Affair’ was one of the most difficult moments of his career (Hitler and Göring had forbidden him to perform Mathis der Maler at the Berlin Opera, and for this reason he had resigned).

But the Second World War made foreign contacts impossible and he had to limit himself to very few concerts in Berlin. In 1945 his position became increasingly difficult, because the Gestapo put increasing pressure on him. He fled to Switzerland. Not until December 1946 was he cleared of all allegations of collaborating with the National Socialists. Two musicians acted as particularly vocal advocates for him: Yehudi Menuhin and Ernest Ansermet. [Note: both Jews]

http://www.bach-cantatas.com/Bio/Furtwangler-Wilhelm.htm

Bret Ludwig Says: “Toscanini and Furtwängler were Jews? I don’t think so.”

Well, not quite. But close.

We know when somebody is heavily touted by the music “industry” (just as with art), there must be some deeper reason. A reason going beyond music or art.

Both Toscanini and Furtwängler may not have been Jews, personally, but they were “politcially corect” enough to pass the kosher test. Toscanini, especially, was strongly anti-fascist and thus served a political/ideological purpose, and so he was touted in America as the world’s greatest conductor. He was brought to New York and made head of the NBC Symphony Orchestra which was specifically created for him. . NBC, of course, was owned by David Sarnoff. If he has been politically on the other side, no one would have heard of him. Also, though not a Jew himself, there was that requisite Jewish connection: Toscanini’s daughter was married to a Jew, Horowitz. I can’t say about any Jewish connection in the case of Furtwängler — but there almost always is one, somewhere. Do note that Jews were fond of him and defended him. This would not have been without some reason.

In 1931 he became joint musical director of the Bayreuth Festival on an equal footing with Arturo Toscanini. Two years later he became the director of the establishment; he took on numerous Jewish artists, which was strongly criticized by the National Socialist regime. In December 1934 he resigned his post ‘for political reasons’. After that he received invitations from all over the world to conduct symphony concerts and operas as a guest conductor … Philadelphia, New York and Vienna offered him the directorship of their opera houses… The ‘Hindemith Affair’ was one of the most difficult moments of his career (Hitler and Göring had forbidden him to perform Mathis der Maler at the Berlin Opera, and for this reason he had resigned).

But the Second World War made foreign contacts impossible and he had to limit himself to very few concerts in Berlin. In 1945 his position became increasingly difficult, because the Gestapo put increasing pressure on him. He fled to Switzerland. Not until December 1946 was he cleared of all allegations of collaborating with the National Socialists. Two musicians acted as particularly vocal advocates for him: Yehudi Menuhin and Ernest Ansermet. [Note: both Jews]

http://www.bach-cantatas.com/Bio/Furtwangler-Wilhelm.htm