"Here is the most genocidal political movement in world history, which created the largest concentration camps and the most horrendous slave labor system of the 20th century, in which millions of gentiles and Christians were slaughtered (referring to the size of Communist Russia's Gulag concentration camp system.)"

"The Judaic Communist epoch of mass murder has disappeared into history in one of the great vanishing acts of all time. Only practiced deceivers, with all the sleight of hand of the most accomplished stage magicians, could pull off such a coup against the rest of humanity. To trick mankind into focusing nearly all expiatory sentiment....on Judaic victims and brand the Mark of Cain--the very words war crime and holocaust itself--on ....Germans alone as their proprietary trademark, must be regarded as one of the most masterful achievements of psychological warfare in the annals of illusion." 

 
"One Russian report estimates that Jewish organized crime has sold over 500,000 Eastern European white women into slave markets the world over."

In Praise Of The White Singing Voice Getting To "Beyonce" Overload Julian Lee

What possessed them to give her four (count 'em) separate songs? Such hegemony by a vocalist at an Oscars is unprecedented some noted. And on what grounds? It's not as if she is a songwriter. She does "covers" of other people's songs. And she doesn't even choose good material. Thanks to her we have to suffer through the resurrection of 70's soul-trash like "Love To Love Ya, Baby." (For that alone she should be banned from the Oscars.) Meanwhile there is nothing exceptional about her voice; you can hear specimens like it at high school talent shows. Then the soul style grates. More than anything these days, the sound of that voice grates me. I mean the sound of the black voice! It's odd, and always the same. Why should I like it? There was no White singer in sight for this White nation. Meanwhile half of the "best actor" awards went to blacks, and a lecherous black emcee was selected to terrorize the audience and pull the class factor down by about 95 degrees. Somebody upstairs was having fun with White America.

Beyond Enuf

I see that Blacks are only 12% of U.S. population. But watching T.V. one would guess they were at least 60%. Or that a law has been written prohibiting Whites from being shown outside of the company of Blacks. Hollywood scriptwriters have a new Rule Number Two: "All characters who are strong males, bosses, supervisors, gurus, commanders, or surgery room chiefs -- or any kind of superior -- must always be played by a black." Oh yeah -- Rule 3 is: "The black must always speak rudely or abusively to the white characters."

It doesn't have any connection to real life, and is very insulting to White people. Leaving aside black overcrowding in media, let's talk about the epidemiology of black "soul" music. Seeing Media canonize Ray Charles -- of all people -- as a cultural icon, lets me know a little straight talk is in order about spiritual ideals in music. I'm going to be criticizing Black music and singing here.  (Just so you don't think I'm entirely one sided, my own people get some criticism further down.) Now let me crow about the musical goodness and brilliance of my People:

Whites Evolve Different Forms Of Music

If left alone Whites and Blacks evolve different forms of music. White music has many lineages  reaching far back into old Europe. Let's limit this discussion to White Classical music alone.  First, our White ancestors in Europe gave us many amazing instruments.

Roy Orbison's open throated,   soaring voice -- melodious and entirely free of strain -- epitomizes singing values   long held dear by Whites.

They developed many forms of strings (violins, violas, cellos, string basses), and brasses (trumpets, trombones, French Horns, Tubas, the Piccolo, the flute), and woodwinds (the oboe, the clarinet), and various Amazing Keyboards (The Piano, the Pinafore, the Harpsichord, and Pipe Organ). This is not to minimize a whole regiment of lesser instruments like the guitar and the harmonica. But using these they evolved that amazing coordinated group effort we know as The Orchestra, and most especially -- the Genius Composers (brilliant white men, all) who supply them with richly imaginative, thematically varied and inspired symphonies and scores.  To create a great symphony requires a large number of adults who have been especially trained on an instrument from childhood, generally supported by a culture that had evolved the phenomenon of schools and universities. Brilliant White Men Everything you hear on a classical music station -- from operas to

complex symphonies utilizing a myriad difficult instruments -- was evolved by White Europeans, right down to the instruments themselves.  

It is not my view that Black people do not have any unique and positive racial traits. This is not my topic here. My point here is that they are not like Whites. You can observe a lot about the essence of a people by analyzing what they do, and what they create, when left entirely to themselves. Especially over eons.   Take the cello alone. African peoples never produced any instrument to compare with it, much less a harpsichord -- or even a dry auditorium where a symphony and audience might pleasantly sit. Standing back of one French Horn are centuries of stable White culture, centuries of White technological creativity, centuries of White industry and economic life. To even conceive of making a piano required first an advanced civilization with much technical knowledge, numerous manufacturing skills and amazing capital equipment. Given these amazing instruments it still remained for  players to master them with years of training under accomplished teachers, in dignified and formal schools, walking upstairs to furnished rooms with windows, showing up on time day after day in that Nordic work ethic, sitting inside of beautiful buildings with heat -- and the rest-- all to master an arcane thread in a work by a Mozart, or some other subtle genius.

Take the cello alone. African nations never produced any instrument to  compare with it.

If there is a symphony today in Africa, it is because Whites brought it there, and it would have to be staffed by White players. Leave aside the instruments and turn to playership. Blacks have long been exposed to violins and cellos. But how many virtuoso instrumentalists, in the classical traditions, have emerged from among Blacks? It can be argued that even to play these  instruments according to White standards -- or even to follow orchestral sheet music -- is a racial capacity. (See Hilary Hahn, below.)
 

Ludwig Van Beethoven is one of the world's greatest composers, a German, and a Brilliant White Man. Peter Warlock (right) was a modern classical composer and White Man --  an Englishman.  Warlock had no musical training. Yet by his early death at 36 he left a large body of masterful music having the same complexity, subtlety, and creativity as the earlier White composers,.  His "Capriol Suite" is deeply visionary and transporting -- true soul music.

Finally we have to mention White music itself. Listen to an opera by Wagner, and wonder: Where do these White Men get this stuff? Watch a classical art channel all night long; you'll see nothing having any corollary -- material or aesthetic -- in historical Africa.   Two White Composers (Just Two!)   Are there any black classical composers in our lofty classical genre? Or even in the ballpark? If so, I have not heard of them. Are there even many great black songwriters in pop? O.K. Stevie Wonder is a great pop composer. But that's about it. Certainly the media-vaunted "Prince" does not rate, nor the absurd Rick James. Their stuff is insipid and annoying. The self-named "King of Pop" -- Michael Jackson -- never wrote an exceptional tune in his life, and he gets hauled into court for copyright infringement.

Philip Arnold Heseltine, aka Peter Warlock   Conductor/composer Constant Lambert wrote in 1938:   "Warlock's music was of its own special category... It would be an easy matter for me to write down the names of at least 30 of Warlocks songs which are flawless in inspiration and workmanship. It is no exaggeration to say that this achievement entitles him to be classed with Dowland, Mussorgsky and Debussy as one of the greatest songwriters that music has known." --From the "All Music Guide," Dave Lewis

Stand any of them next to a Paul McCartney or an Andrew Lloyd Webber. Has "the king of pop" ever written a melodically brilliant "Eleanor Rigby" or a "Jesus Christ Superstar"?

After listening to some good symphonies ponder what blacks create for music today when left to themselves. Ask yourself if you don't like White music better than the atonal bellowing, criminal lyrics, and ham-handed digital assault known as "rap" and "hip hop"? Compare it to a soaring run by Andrew Lloyd Weber and ask yourself: Which is the real "soul music"?   NOTE: Some great composers and songwriters have been Jews, the chief racial  adversary of Whites. One fine day I found myself moved by the orchestra on a classical music channel, and then a piece from the opera Madame Butterfly, and I realized: An orchestra is a very White thing, and so is an opera, and so is a cello. And this is the music of White People! It's the music of your White ancestors, and it carries their intelligence, their dreams, and soul.

Andrew Lloyd Weber, a great modern Composer in the White theatrical traditions.

I began to grow in appreciation of my own race, and realized I had not been appreciating it at all. I saw that I had been led; I had been brainwashed from youth. But the sublime, unendingly creative music that I heard there was enough to convince me to feel proud of the White Race, and to realize we were spiritually unique. And then I found that it is considered stunning for a White to have any racial pride. If you are White you are not supposed to think that Whites have anything special about them. Or, you are supposed to assume that whatever we have, other races must have them too. Or more likely, you are supposed to be ashamed of your race -- as many young White people now are because of the media message. What could my four White daughters think when the only singer featured at the Academy Awards is a black "soul" singer? It must mean they should try to be sing like her, even look like her...

Whatever American Black music may have been originally -- and I don't say that I know -- what we've come to know are its admixtures with White forms. A cross-fertilization has created a few interesting things, like New Orleans jazz. But left to themselves the two races create there own music, and they don't have the same vocal approaches. When you  see black actors in "Porgy and Bess" singing with an operatic tone, know that that vocal style was trained into them by White teachers.

Black and White Voices Sound Different
 
I can usually tell a Black from a White over the phone, not by accent but voice tone. Also I can tell a white singer from a black sight-unseen, again from voice tone. So it seems that white voices are different from black voices acoustically. Whether this is from biology or environment, I do not know.

Emerson, Lake and Palmer   Greg Lake (center) has a sonorous,  open voice that is is probably untrained,  but a fine specimen of  natural White vocal sound. Good Sample Songs: "Trilogy," Take A Pebble," "From The Beginning," "The Sheriff"

But you can't fool the ear. The sound of the White voice is instinctively more attractive to me. Why shouldn't it be? The White voice has resonance in my memory and genes, and maybe lifetimes of White mothers singing me lullabies, and fathers giving me advice, and association with other White voices. And the White vocal style somehow resonates with values that are a part of my White DNA. I note that a White can learn to sound like a Black, as in the case of Britney Spears. Also a Black can learn to sound like a White, as in the case of Nat King Cole. If left to themselves, however, the two races evolve different voices. Listen to Roy Orbison sing and then ask yourself: Has any other racial group generated that kind of voice or vocal style? The pure presentation of the note, the unwavering sustain, and the open-throated tone shimmering with heart and subtle longing? The answer is no. Roy Orbison is considered great in White culture precisely because he so beautifully exemplified core White singing values. There is no black 'Roy Orbison,' no oriental 'Roy Orbison,' no East Indian or Asian 'Roy Orbison' and no Native American 'Roy Orbison.'

If a non-White ever shows up singing like Roy Orbison (a thing that has never happened) it'll be because they were heavily exposed to White singing and strove to master that sound. But it is not a natural emanation of other races.

This is not to say that other racial styles don't have their charm. I enjoy the East Indian singing style with beguiling and subtle melodic inflections. Asian styles of singing are completely unique to that race, as were the Black singing styles out of Africa. Of the races, the Asians have come the closest to evolving singing values similar to those of Whites, in terms of sweetness of tone and pure sustain. But the Asian lexicon contains sounds and musical values that are unknown to the White.  

I posit that differences in music/singing are caused by differences in psycho-spiritual orientation inherent in the races. Spiritual Lexicon of the Voice   The various possible styles of the human voice actually represent a spiritual and moral lexicon: A strained and broken up voice makes a statement of recklessness, excess, and pathos. A shouting, atonal style conveys brutishness and a rejection of the aesthetic. The singer who carries an actual melody -- as compared to grunts, shouts, and wails -- affirms the spiritual aesthetic that is music itself. A cultivated, disciplined voice speaks of self-respect, self-discipline, work and intelligence.

The singing style of Andy Williams exemplifies natural White ideals for the voice. Never strained even at higher ranges, his voice floats out of him like smoke from a chimney. His voice is tinged with joy, and achieves a beautiful tone.

A pure tone implies chastity and honesty, innocence and restraint.

A forced voice that strains bespeaks impetuosity and impatience, bullheaded youth and the eternal  green yokel.
 
A distorted growl conjures a drunken brawl; dissolution, unrestrained anger.
 

Young Virginian Hilary Hahn is already one of the world's violin masters.  She displays the Nordic manual dexterity, combined with the rich White musical sensibilities enshrined in classical music itself. Think White People are not special? See and hear this Violin Goddess -- and get Religion.

A light and breathy sound telegraphs femininity, innocence or childlike qualities. Deep, firm voices in men bespeak manliness, fatherhood, strength, and authority. A vocal style that constantly shifts about -- to the point that melody is obscured -- stands for waffling, laziness, freneticism, and hype. A "shifty" vocal style represents a "shifty" approach to life. I have to note that is a trait of so-called black "soul" singing.  (I distinguish this from the vocal music of India which, though containing  subtle dips and trills, holds to a well defined melody.) The ability to evenly hold to one place in a melody, on the other hand, speaks of the ideals of self-control, fidelity, focus, and strength. It can be argued  that to play these instruments beautifully and according to White standards -- the violin, the cello -- is a racial capacity.

A voice can be chaste or dissolute, economical or wasteful, spiritually inspiring or carnal and debasing to the mind. Whenever anyone sings they are representing some kind of human value through singing style.  A beautiful and original melody enlivened by a chaste and disciplined voice lifts the human spirit. Add meaningful lyrics, and it can connect us to the Transcendental within. As far as I'm concerned, this is the real "soul music."

The White Singing Values

To understand the values of the White singing technique, you would only need to sample some voice lessons from the many voice coaches (almost all of them White) who have been teaching in Europe and the U.S. for centuries. Following are four singing values they promote.

 -- White singing strives for an open throated tone. To achieve this a singer learns to support his voice consciously from the abdomen, providing foundational strength to the final voice.

-- It is a high value not to strain the voice, but to let it flow out in a pure, undistorted way. -- High value is placed on the ability to hold a note in one place, as the melody may demand, without having to resort to vibrato, force, or the dippy little melodic gimmicks so common in black singing. The beauty and power of the human voice has been cultivated by Whites, even as they cultivated the world's finest architecture. -- The White singing ethic strives for the development of beautiful, full tone. A beautiful tone is rounded , rich and undistorted, carrying more frequencies of the voice. It lacks strain and is based on the training of not just the throat, but that entire underlayment of diaphragm, abdomen, and lungs. It is a holistic effect, and carries 'soul' -- the real thing.

Tone can also be improved through training. Tone is of first value, then control, execution, and lastly style. Black singers tend to be long on style and short on execution and tone. I am going to add one of my own values here that may be obscured even in the White tradition. It is a divine gift when a singer's very voice touches the soul. And this is effected most by the singer's own inner virtue. You might say the singer's "good karma." A singer with inner spiritual beauty or wisdom transmits it through his voice. A singer's own moral condition is one of his most important qualifications.

A good singer makes it sound easy; he soothes and uplifts. When he takes you to dangerous vocal terrain he carries you through safely without losing control or finesse. A great singer evokes sublime feeling more by containing a vital voice with chaste control, than by unrestrained emotionalism and excess. Just as poetry gains power when it whispers to you between the lines; a singer touches you deeper through hidden reserve than by dumping everything on the table.

This takes discipline and cultivation and powers in reserve.  And this is a statement of the values of our ancestors. To sing this way requires the development of a physiological understructure and a skillful use of the lungs and entire body, so that the voice finally "floats" out in a relaxed way, even in higher ranges.
 

"This style of singing embodies the spiritual values of discipline, inner structure, and strength. At its best it conveys wholeness, purity, and fidelity."

When a singer builds that understructure he is able to go soaring and take us along. For some it's a born gift. Others cultivate it through training. But that style of singing -- developed over eons by our White European ancestors -- implicitly conveys the values of those ancestors. This manner of singing embodies the spiritual values of discipline, inner structure, and strength. At its best it speaks of wholeness, purity, and fidelity.

Limiting this discussion to the voice, I won't even attempt to discuss broader musical values of the Whites, such as the high value placed of melody itself (something increasingly missing from Black offerings, which appear to be in a state of degeneration.). I never thought I'd find myself publicly criticizing Black singing. But the fetish shown by our our media handlers in pushing Black 'artists' upon me -- and my daughters -- had be backed against the wall.
 
An Analysis of Black Singing

Here I'll also not mention "rap" and "hip hop," which is barely music and generally features shouting as opposed to singing. Here I'll comment on the cases where Blacks get involved in singing.

In black  singing lazy trills and gimmicky gasps often stand in for vocal discipline. Affected emotional histrionics  substitute for genuine spiritual impact. Tonality remains undeveloped. To me, the black voice in its natural state reminds me of the the sound of a bleating calf.

This vocal tone rules with the black singers today, tinny and uncultivated. There have been resonant black singers -- Nat King Cole has been mentioned. But guess who his influences were? Who was he aspiring to sound like? White men. He patterned himself after the White crooners of his time. Radio listeners thought he was White. Was it not grand that Nat King Cole was able to receive that influence from White crooners and give us a sonorous, melodic voice? Lou Rawls, another black singer, almost came close. But both voices owed much to cigarettes. (It's an old trick for giving yourself a husky voice not really yours. Both died from lung cancer.) As for Rawls, his tone was a little menacing. Did either of these even approach the saintly, spine-chilling timbre of an Andy Williams? Or the edifying sonic clarity of a Wayne Newton? In my 'White Soul,' no. Nowadays, Black singer don't sound the least bit like Nat King Cole, or other contemporary Whites. Nat tried to sound like the White singers. One can turn on a classical music channel and see black operatic divas, too. Again, they have inculcated a musical discipline created by Whites. Today Blacks no longer aspire to break in on a White standard. They are avidly sold to the wealthy White audience just being themselves. So they are evolving their own music increasingly cut off from White musical influence. Musical influences have become a one-way street. Whites (like Britney Spears et al) take their influence from the Blacks. Blacks seem to take little influence now from whites. But is this a good thing? Does today's Black music enrich White music, or degrade it? I believe that the White musical tradition is the richer, loftier tradition and that Black influence now degrades that. I assert here that White music and vocals are beautiful, lofty, and precious. As for me if I had to choose, I'd rather hear White singing. Today our ears are swimming in a genuinely black vocal style that is a cliché at best, invasive at worst. The newly sainted Ray Charles (now inexplicably hyped as a "cultural revolutionary") is a fine example of the strained sound achieved by any fool attempting to sing. To hear this tone at it's prime, listen to any Rastafarian or "reggae" singer out of Jamaica. They all sound the same -- like bleating calves. That's how it is when you sing without White vocal discipline, foundational technique, or even effort. Today's "soul" singers indulge themselves endlessly with fast 16th notes. These are exhibitionistic departures from the melody that covers up a basic lack of discipline and vocal prowess. Putting all those wriggles into your line is the lazy and juvenile.

Ray Charles, Newly Prescribed Musical Hero for a White Nation     In 2005 our media handlers appointed the vocal bleater Ray Charles as the new musical hero for Whites. Media proclaimed him a "Legend," "a Cultural Revolutionary," "Pioneer," "Visionary," Lord of Kosher Hype, Soul Messiah, Chief Growler, Prime Howler, Supreme Brotha, Mainman, Holy Father, Ed Sullivan Show filler, contestant on Hollywood Squares. (But did he write one damned song that was any good?)

It's like a boy hopping every corner with his skateboard, or popping every bubble on some plastic packing. It's easily learned. I could do that stuff as an amateur singer at 16.  These undulations are basically a parody of emotional feeling originating in the black southern churches, an affectation. But they tend to weaken the melody, and are no substitute for genuine emotional transmission. 

Fast 16th notes, brassy tone, superfluous histrionics. Whitney Houston has long been considered as the premiere  female 'soul singer.'

The undulations  serve to obscure the fact that the singer has not mastered a more difficult and central aspect of singing -- holding a note and letting it ring out with beauty. White singing places a high value on the ability to hold a note in a pure and attractive way, without strain. There is also a value on fidelity to a melody. What does it mean, Cosmically, to hold a note and let it ring in place? What does it imply to show fidelity to composition? What can we tell about a People that evolves these singing values? Why did our European ancestors develop this singing ideal rather that the shifty convolutions of "soul" singing. "Soul" singers commonly blare out high notes like a brass horn. This is supposed to represent vocal power and emotion. But a voice is spiritually powerful when we can sense its inward strength, set within restraint and inner girding; when you sense the singer isn't using all he's got, though giving you a lot. The principle is seen with power amplifiers. A stereo amp with more wattage than it needs -- "head room" so to speak -- provides less distortion, greater musical purity, and more dynamic range even at a low volume. Soul singers do not cultivate the abdominal undergirding that brings out the beauty of the human voice.

 
A fine singer can emit a sustained note, soft or firm, without strain or wavering, then end it smoothly without that cheesy gasp so annoying in modern black singing. That's real control. If you asked Ray Charles et al to just hold a note sweet and clean -- without blaring like a horn -- they'd be stumped.

The young singers of today who imitate these people are losing out on the potential of their voices.

Pathological White Singing
 
Now I'll make some stout criticisms of my own race. If Whites listen to this criticism, it will only help them greatly. Over the past several decades there have been many White singers who do NOT manifest the above vocal values. However, it can be argued that the decline of these ideals has  been through foreign influence, and fomented by a breakdown and derangement of White culture.

The Who's Roger Daltry could scream in tune very well -- for a few years. It didn't take long for his voice to be shot. In reality, sustainability is part of White wisdom.

A voice that strains and breaks up in places has some theatrical and emotional value. But carried to excess it is simply ugly and deadens the soul. It has led to a form of singing that became a white forte, that of the heavy-metal screamer. Let's analyze that vocal style. Heavy metal scream-singing had its genesis in the untrained effort to sing at higher ranges, without consideration for the spiritual possibilities of tone, or even the longevity of the vocal chords. Higher ranges have always been a part of white singing, and we used to call them tenors.   In the 60's certain White groups -- most notably the Beatles -- deliberately strained the voice into high ranges, absent any technique, to achieve a raw emotional provocativeness. Whites became the masters of  heavy-metal screaming because they are the masters of technology -- and the intimates of the social  damage it brings. This approach was actually pioneered by Black singers of the time, most notably Little Richard. In time the singer's voice (while it lasts) takes on a raspy quality that adds more emotionalism, with a suggestion of anger or aggression.

This effect was what they were after. An example of this sort of voice was the singer for "Nazareth," who had one hit called "Love Hurts." Heavy metal singing represents these trends at their ultimate conclusion, fostered further by the loud heavy metal guitar.

The screaming, distorted vocal style was an inevitable sonic corollary to the obscene volume of the metal guitar. Any form of music that actually damages the human body (in this case the hearing) has to be classified as pathological, negative. Heavy metal screamers represent for us Mars-like masculinity and bombast. This bellowing, throat-splitting approach conveys the very vibrations of anger, excess, aggression, and ignorance -- even violence. Lead singers for bands named AC/DC, Iron Maiden, Quiet Riot and many others exhibited the style. These raging vocals became favored by young American White males in the 1980's onward. It speaks of their emotional condition. Whites became the specialists with this sort of tamasic music. (That's a Hindu word for ignorant, dense, destructive.) Whites tend to be really good, or really bad. This is one of those cases.

Aggression, anger, and pain   are seen on the face of Bruce Dickinson (Iron Maiden)  as he 'screams in tune.' With this forced singing style the voice is ruined within a few years.

A Bruce Dickinson album cover. The fish looks like him when he sings, a perfect image for the brute aggression tone of heavy metal singing.

And the blame can't be laid at the feet of Blacks. It is part of a spiritual darkness that has beset Whites from many sources, and some of the sources are their own -- especially White technological obsession, perhaps the greatest fault of the White race. The White Race is the master of technology, just as they've been the masters of a few other things (like beautiful architecture). It comes from the Nordic ancestral need to be highly organized and technologically competent to survive the harsh northern climates. This strength is also one of our great faults as a race. Whites never meet a technology they don't like, and fail to recognize the extent to which technology damages culture and produces alienation; or the basic fact that technology never solves the problem it is meant to solve: The problem of duality and suffering.

With technology the duality always shifts and takes more complex forms, and meanwhile society becomes damaged. We can see this clearly in the development of loud rock music. Young people go to "concerts" and actually come away hearing damaged and less able to enjoy any music. The music itself -- now amplified by White technology -- became the cause of profound loss and damage to the very ability to experience art.

It is because technology is the forte of the White Race that they have specialized in producing this ugliest form of "music" and vocalizing, that of heavy metal .Emerson, Lake, and Palmer -- cited above for beautiful White melodic sense and good singing, was periodically blighted by egregious ear-shattering techno noise. I lost some of my hearing at at Emerson, Lake, and Palmer concert.
 

So Whites became the masters of heavy-metal screaming because they are the masters of technology and the intimates of the social damage it brings. All in all it comes from: 1) White rage and emotional pain -- especially that of young men emotionally abandoned by their families and their fathers, and 2) The unfortunate White obsession with machines and technology, and 3)  living in an increasingly isolated and technology-driven world that Whites have themselves produced. It is a pathological form of singing --

John Lennon was one of the first White singers to  strain for higher ranges, deliberately letting the voice become distorted and rough. (And he did it very well.) Later this evolved into the  extreme approach found in Heavy Metal. Lennon had  a lot of  inspiration from Elvis Presley, and both Lennon and Presley took inspiration from  black entertainers  Little Richard and  Chuck Berry.  (pictured left).

one that actually destroys the voice and can't be maintained more than a few years -- and not a part of White cultural roots.

But White culture had help from other quarters in developing this style. Angry young men like to hear angry music. Music publishers music -- many Jewish -- exploited the feelings of  generations of young Whites and gave them music that both reflected and stirred the bad feelings. This fascination for such extreme singing and sound tells us that young Whites have a lot to be angry about. Meanwhile, it got a big boost from Blacks directly.

Who taught John Lennon To Scream?   John Lennon, an early early and very influential White "screamer," stated that he was copying black entertainer Little Richard, a flamboyant and original rock'n'roll screamer of the 50's. Meanwhile, the Black guitarist Jimi Hendrix is regularly cited as the foremost pioneer of ear-shattering metal guitar music, with stacks of Marshall amps that could reduce your hearing in a nanosecond.

To get in touch with our ancestral voices, listen to singers like Enya, whose Celtic influences and chaste style are primordially White. Listen to the great crooners like Frank Sinatra, Perry Como, or Andy Williams. Or take note of a Donovan record, such as his rare gem "Sutras." From these you won't hear strings of furtive triplets. You won't hear those annoying Michael Jackson Gasps. (That obnoxious aspirate device used to close a note in "soul" style, and giving a subliminal suggestion of the panting sounds of sex.) Just listen and enjoy some beautiful open throated singing, White singing.

Enya, of Ireland sings  in Celtic musical traditions, with shades of Gregorian Chant, in a chaste voice brimming alive with classic White singing ideals. Best Albums: Watermark, Shepherd Moons, The Memory of Trees.

Our nation used to be filled with the sound of such voices. Why do we now swim in jive and rap? How did that happen? Blacks only make up 12 percent of the U.S. population, but it's clear that 100 percent of us are supposed to like this crap. Our children hear it every which way they turn. It pains me to see so many young white female singers sinking into this slovenly style. Did you know that Britney Spears sang with a beautiful, ringing White voice when she was young? But then she, like my daughters, was overinfluenced by black singing till today her voice is a frequency-fragment of what it was. How did it happen? Simple: Media Overexposure. Somebody up there has decided this should be the music that our children grow up knowing best. The fact that it is so heterodox to the spiritual heritage of those white children may be a reason it is foisted upon them.

Donovan, of England , is a fine example of natural White singing. Melodious and unforced, his is the . gentle, courtly vocal style evolved by centuries of English troubadors. His recent and rare album, "Sutras," is a masterwork of simple, yet original and affecting melodies.

 
 All of White America had to settle for the overwhelmed Beyonce at the Academy Awards. There were no great singers at the Oscars this year and whites were conspicuously absent. Yet those are the singers who would speak to the soul of White America.

The Race War Heats Up
 
This is all a puzzle unless your understand that there is a Race War going on. The war has been going on for centuries. The two big players are Whites and the Jews, as always. It's a quiet war now. Only Jews remain engaged. And they are winning.

A basic strategy is to convince Whites -- especially children -- that there is nothing special about their race, their heritage, or White cultural values developed over millennia. This is done partly by omission -- simply ignoring White things. Going further, White history and White things are actually portrayed negatively. So White children become not only unaware of their unique racial heritage, but despisers of it. It may never occur to them that there are unique positive qualities in the music Whites have developed, or in White people. As the final blow, you take blacks and feature them instead of White culture -- in a White nation --  and let them progressively supplant it. White racial self-awareness and self respect dies, White culture dies, and is profoundly downgraded (from a White point of view) by gradual replacement by the Black consciousness.

White children come to view Blacks as actually better, desirable. After all, they are the famous ones.  I believe now that the promotion of Black music and culture over White is done by Jews, who dominate and control most of our media now, as a way to humiliate and marginalize Whites, and to  diminish their positive racial self-awareness.  It's a Stealth Race War, a war of the mind, and Jews have been orchestrating this covert war for too long now.

LINKS

The Jewish Plan for Incremental White Genocide in America

Jewish Involvement in Influencing United States Immigration Policy

What Makes Western Culture Unique

The Culture of Critique, Preface
 
 

Love Your Race