“White culture is Family Ties and Led Zeppelin and Guns N’ Roses – like, this is white culture. This is all we have.”
Rock music’s descent mirrors the recent late-stage decline of confidence in the West.
Yes, rock music is complicated – cue the liberals retorting with, “It’s all just black blues, man!” and certain conservatives contesting, “But it’s degenerate!”
Yes, rock music as a term denotes a very large tent, a river with many tributaries and streams. Warning: Your favorite artist may not be mentioned in this article.
Nevertheless, large swaths of rock ‘n’ roll transmitted threads from prior manifestations of the European temperament: the thunderclap of marauding berserkers, the bittersweet longings of the troubadours, the earthy whimsy of the Romantics, and indeed, the exploratory reach for “infinite space,” the prime symbol of Western man as described by Oswald Spengler. This last notion is expressed in the sheer vastness and enormity of sound in rock music.
It’s said that the Yule spirit sneaks in and peeks through even the most commercialized aspects of the Christmas season, and so too with a European disposition in rock music – even if it drew influence from other cultures, and even if it carried along with it subversive elements of late twentieth-century popular culture.
Much of rock’s structures draw from the blues, of course a product of early twentieth-century rural black culture in the American South. However…
…please continue reading the expanded version of this article on Counter-Currents.com, my first piece published there.
Also, please cross reference the article with four corresponding playlists of music on my YouTube channel: