You're not white if you don't listen to black metal edition
/brit/
Aaron Wood
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Christian Gonzalez
The US has been compared, not without justification, to a melting-pot. It actually presents us with a case in which a human type was formed, with characteristics that are to a large extent uniform and constant, from out of a highly heterogeneous raw material. Emigrating to America, men of the most diverse peoples receive the same imprint; after two generations, except in rare cases, they lose almost all of their original characteristics, reproducing a fairly homogeneous unit in terms of mentality, sensibility, and behavior: the American type.
Charles Robinson
Jow Forums is down
Juan Butler
haha
Leo Carter
Bought a load of nice foods to eat over Christmas but am to ill to eat them.
Jonathan Parker
milking a nigger
Leo Torres
Jose Lopez
John Gutierrez
black metal is cringeworthy desu
now punk? punk is epic.
Adrian Howard
Instead, besides its Puritan-Protestant component (which, in turn, as a result of its fetishistic emphasis on the Old Testament, possesses many judaized, degenerate traits), it seems that it is precisely the negro element, in its primitivism, that has set the tone in important aspects of the American psyche. It is already characteristic that when speaking of American folklore, it is to the Negroes one is referring, as if they were the original inhabitants of the country. Thus, the famous Porgy and Bess by the Jew Gershwin, which deals exclusively with blacks, is considered in the US to be a classic work inspired by “American folklore.” The composer has declared that he lived for some time among American blacks in preparation for this work.
But the phenomenon of popular and dance music is even more conspicuous and general. Fitzgerald was not wrong when he said that in one of its main aspects, American civilization can be called a civilization of jazz, i.e., of a negrified music and dance. In this domain, very singular “elective affinities” have led America, by way of a process of regression and primitivization, to imitate the Negroes. Assuming there would be a need for frenzied rhythms and forms as a legitimate compensation for the mechanical and materialistic soullessness of modern civilization, one would have done much better to look to the many sources available in Europe: we have elsewhere mentioned, for example, the dance rhythms of South Eastern Europe, which often have something truly Dionysian. But America has chosen to imitate the blacks and the Afro-Cubans, and then from America the contagion has gradually spread to all other countries.
t. Evola