Morals, Manners and Music

Clement Pulaski
Daily Stormer
August 1, 2013

teen group

Nothing more readily influences tender and susceptible minds, than the
varied melodies of music ; whose power of raising both good
and evil passions is almost beyond expression ; for music can
excite the depressed, and depress the excited, and augment
our energies, or contract them. It would have been well for
many of the Greek cities, if they had maintained the spirited
and invigorating character of their ancient music ; for since
their music has been changed, their morals and manners
have lapsed into voluptuousness and effeminacy.

Our society is full of degenerate art and music, and while much of it is offensive to certain segments of the population, those who are offended rarely do anything about it, nor do they understand just how dangerous this filth really is.  Normal, decent individuals merely role their eyes at the latest absurdities of modern “art”, and the ever decreasing number of parents concerned about hip-hop and other degenerate music focus solely on the lyrics, not the inherent baseness of the music itself.

In the case of these concerned parents their understanding of the problem is quite superficial: they think that once hip-hop is paired with an edifying message, it is harmless.  This has led to the widespread acceptance of “Christian” hip-hop, even among supposedly conservative Christians.  The following is a promotional video for Hip Hop Hope, a product featured on the Christian Broadcasting Network of Pat Robertson:

Music affects the subconscious, not merely the verbal faculty of the mind that processes the lyrical content.  Therefore music itself can be said to be objectively good or bad depending on the emotion and disposition that it brings about in the listener. The failure to recognize this fact shows how poorly modern society understands human nature; or rather, how poorly contemporary conservatives understand human nature, for the Jews have long understood what an effective tool of subversion degenerate music can be. While the insidious sophistry of Marxism befuddles the mind, base Negro rhythms corrupt the body.  Most of the parents who were shocked by hip-hop had already accepted Negro jazz as a respectable genre, and were therefore unable to recognize the root problem of hip-hop: its savage African origin.  Many young people today view jazz as quaint and boring, but this belies how revolutionary the genre was in its day.  Thanks to  Jews and degenerate Whites jazz became the dominant style of popular music in the 1920s and 1930s. The frenzy of African demon-worship was processed through European instruments and packaged as sophisticated art:

Whites imbibed the screeches of the jazz musician and aped the spasmodic dance of the jungle, a trend which sadly continues to this day.  It has long been recognized that Black American dancing and music originated from traditional African styles (my elementary teachers even emphasized the point that European dancing was stiff and lacking in hip movement before the infusion of African influences).  What is rarely emphasized is that African song and dance is intimately linked with the debased cults of the dark continent, with voodoo, human sacrifice and cannibalism.  The infernal nature of much Black American music is thus no accident.  These melodies and motions developed alongside the most wicked practices, and wicked practices arose when this music was accepted by White civilization.