Hate modern music? Not sure if there’s anything worth saving? Wondering what happened to the grand tradition of Western classical music? Western man’s sick infatuation with culturally alien music, such as rap, is not a new phenomenon, but it is proving unique in the way that Western man has not been able to wring anything of substantial cultural value from.
Julius Evola was right and wrong about Modern music. He railed against the beatniks and the radical and overly technical condition that classical music had metastasized into during his own time. Not only that, but Evola had also fallen into the self-same mistake of reactionary conservatism with his recommendations of where we were supposed to go to fix the problem.
Evola decried the then-contemporary music scene saying that classical music had reached its zenith and then been corrupted by a radical intellectualization and simultaneously took up a physical expression beholden to the physical world and natural forces; Modern music, he says, had turned into a hyper-technical expression designed to both entice and appease base desires. He prefers that we should listen to something “vocal and emotional”, or coming from the schools of Romanticism or Expressionism.
Jazz was a distraction for Western man, but it wasn’t the worst thing that’s ever come our way. Contemporary rap music has proven to be significantly worse than jazz ever was. The negro community “owns” this insidious new genre of music, and the Jew-dominant media industry has jubilantly encouraged, subsidized and promoted rap in the West. Western man’s history of engaging rap music has been one long disastrous and cringe-worthy enterprise. No matter how many white people have taken up the unfortunate vocation of making rap music, they have only managed to degrade and defile every other form of music that it encounters. However, I’m getting ahead of myself right now. “White rappers” were not the death of music, only an extension of the franchise.
The fact is that we have already passed the stage in which Evola proclaimed us to have reached a terminal crisis in western music (Ride The Tiger, p 161). He says we have exceeded the chromatic limits of all classical and then-contemporary music technology while also falling into a regressive form of physical performance. This musical revolt as it might be called was brought about at the advent of electronic music. I believe a similar electronic revolt occurred when auto-tuned singing made the scene, but that’s getting off topic. These new forces of music bring with them new conventions and rules for music composition and consumption.
It’s important to know that In every instance where one force overthrows another, the rebels must then replace the old system with a new system. Every system’s universe must have a set of laws which its members are bound to observe, and the chaos of this present musical rebellion is the search for new rules under which we will be constrained. Thus, a rebellion is never about removing or stopping government, but about dictating what the leader’s government shall be named and who will be the supreme lawmaker. The new order of music is still attempting to establish those rules, and until it does we will not begin to see a finer expression of such music that might be representative of a High Culture.
This is where Evola begins to make his mistake. He seems to pine for something that, by his own admission, had already passed. Evola wrote in Men Among the Ruins that we would be committing the worst kind of reactionary conservatism were we to try and “sluggishly perpetuate” the past into the present. That’s where he was wrong with the music scene. He denies the possibility that our current culture might synthesize a new musical form and expression. But, he was right in pointing out that Westerners went off the path somewhere along the way.
“This is very apparent in the latest forms, such as the music of the so-called beat groups. Here the obsessive reiteration of a rhythm prevails (similar to the use of the African tom-tom), causing paroxysmal contortions of the body and inarticulate screams in the performers, while the mass of the listeners joins in, hysterically shrieking and throwing themselves around, creating a collective climate similar to that of the possessions of savage ritual and certain Dervish sects, or the the Macumba and the Negro religious revivals.” (Julius Evola, Ride the Tiger, p. 164)
Whatever jazz was as a degenerate music form, rap has long since picked up where jazz left off and galloped away with wild abandon. Juvenile’s Back that Ass Up (1998), Petey Pablo’s Raise Up (2001), and both the white version (2013) and black version (1981) of the Harlem Shake are some contemporary examples of this insidious music form where people hysterically shriek and throw themselves around. Pure, unadulterated Dionysian musical manias. For some reason, white people lost their damn minds over these songs twerking and jerking their way to infamy.
Was jazz a deviant and regressive form of music and dance at one time? Certainly. But, I dare say it has changed and grown into something different and more refined in the time since. There’s no denying that jazz was borne off the negro’s lips in Storyville. Western man did take after the negro music, abandoning their own tradition of Western European music. But, I think this was inevitable given North America’s extreme geographical separation from Europe, and the fact that Western man went after the negro’s music was only incidental. This lapse proved to be but momentary in the development of a new Western music tradition. So, what happened with Dixieland jazz that didn’t (and hopefully won’t) happen with rap?
Without taking the entirety of the jazz music genre by itself, take a look at the development of Dixieland jazz. Most of the Dixieland you will hear today came out of the 1940s Dixieland revival. This music was also undeniably borne of Storyville’s negro music, but it became so much more after white musicians took it up. Folks like Al “he’s the king” Hirt, Eddie Condon, Pete Fountain and the Assunto brothers are a couple of artists who showed that culturally alien music forms can be appropriated, refashioned and made into a unique cultural expression of our own. Hirt managed to play a very high-brow brand of jazz. Check him out. Obviously, Hirt proved that jazz is not exclusively a degenerate and regressive form of music.
Evola missed the mark when he said that jazz was the degeneracy that we should look out for. He nailed it “10 for 10” when he said that Western man was making a mistake by taking after the negro’s music. He nailed it “10 for 10” when he described what it would look like. However, he was “0 for 10” with the unfortunate fact that he was about 30 years too soon with his warning.
One of the people who didn’t get Evola’s warning is Miley Cyrus, who is in the news (again). This time she’s covering Khia’s “My neck, my back.” This is the kind of stuff that Evola was warning us about. I don’t expect that Cyrus will turn Khia’s music into a respectable art form, neither that she will stop making such music any time soon. She seems to be betting on her sex, taking a page from Madonna’s play book, and I’m curious to see how much longer it takes before people lose interest in Cyrus’s (increasingly now) defiled body.
It’s not fair of me to compare Hirt and Cyrus, because Hirt’s trade is entirely dependent on his skill as a musician, while Cyrus’s success as a musician is (almost totally) dependent on the manner in which she flaunts her sex. The other important difference is that Hirt took a music style and rendered a highly refined version of it whereas Cyrus is doubling down on performing degenerate rap in an atrociously worse manner. See the difference now?
Where does music go from here? If I knew the answer to that question I wouldn’t be writing pro bono. However, a few of the broad strokes are easy enough to fill in. We don’t need to be buying into the degenerate and culturally alien rap music lifestyle promoted by Jewish interests in the media industry. We shouldn’t necessarily avoid new forms of technology for making music, but we should ensure that we’re finding ways to use these new technologies in a manner that is unique to our own social-cultural-spiritual body. And, finally, we should start looking for music from within our own social-cultural-spiritual body, and not from outside of it.