Billboard’s #1 Song as a Sign of the Apocalypse

Austin Richard Post… err… I mean ‘Post Malone’.

Currently, the #1 song on Billboard is “Rockstar” by Post Malone (born: Austin Richard Post) featuring 21 Savage (born: Shayaa Bin Abraham-Joseph).

Like Eminem before him, Post Malone is a white wigger who worships black ghetto culture. Among his obligatory slew of tattoos are ones of Bob Dylan and JFK. Go figure. This is what huge swathes of unwoke white youth are listening to today. At least there are references to Jim Morrison, Bon Scott, and ‘Back in Black’, and can hope it acts as a counter-signal for Kardashianized suburban white kids to check out some real rock and roll.

Ayy, I’ve been f*ckin’ hoes and poppin’ pillies
Man, I feel just like a rockstar (star)
Ayy, ayy, all my brothers got that gas
And they always be smokin’ like a Rasta
F*ckin’ with me, call up on a Uzi
And show up, man them the shottas
When my homies pull up on your block
They make that thing go grrra-ta-ta-ta (pow, pow, pow)

Ayy, ayy, switch my whip, came back in black
I’m startin’ sayin’, “Rest in peace to Bon Scott”
Ayy, close that door, we blowin’ smoke
She ask me light a fire like I’m Morrison
Ayy, act a fool on stage
Prolly leave my f*ckin’ show in a cop car
Ayy, shit was legendary
Threw a TV out the window of the Montage
Cocaine on the table, liquor pourin’, don’t give a damn
Dude, your girlfriend is a groupie, she just tryna get in
Sayin’, “I’m with the band”
Ayy, ayy, now she actin’ outta pocket
Tryna grab up from my pants
Hundred bitches in my trailer say they ain’t got a man
And they all brought a friend
Yeah, ayy

Ayy, I’ve been f*ckin’ hoes and poppin’ pillies
Man, I feel just like a rockstar (star)
Ayy, ayy, all my brothers got that gas
And they always be smokin’ like a Rasta
F*ckin’ with me, call up on a Uzi
And show up, man them the shottas
When my homies pull up on your block
They make that thing go grrra-ta-ta-ta (pow, pow, pow)

I’ve been in the Hills f*ckin’ superstars
Feelin’ like a pop star (21, 21, 21)
Drankin’ Henny, bad bitches jumpin’ in the pool
And they ain’t got on no bra
Hit her from the back, pullin’ on her tracks
And now she screamin’ out, “no más” (yeah, yeah, yeah)
They like, “Savage, why you got a 12 car garage
And you only got 6 cars?” (21)
I ain’t with the cakin’, how you kiss that? (kiss that?)
Your wifey say I’m lookin’ like a whole snack (big snack)
Green hundreds in my safe, I got old racks (old racks)
L.A. bitches always askin’ where the coke at
Livin’ like a rockstar, smash out on a cop car
Sweeter than a Pop-Tart, you know you are not hard
I done made the hot chart, ‘member I used to trap hard
Livin’ like a rockstar, I’m livin’ like a rockstar

Ayy, I’ve been f*ckin’ hoes and poppin’ pillies
Man, I feel just like a rockstar (star)
Ayy, ayy, all my brothers got that gas
And they always be smokin’ like a Rasta
F*ckin’ with me, call up on a Uzi
And show up, man them the shottas
When my homies pull up on your block
They make that thing go grrra-ta-ta-ta (pow, pow, pow)

Rockstar, feel just like a rock
Feel just like a…

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The Boys Next Door – The Wildest Christmas (1966)

A really great and funny tune about an irritated Santa getting stuck in a chimney.

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Margo Guryan – I Don’t Intend To Spend Christmas Without You (1968)

A gorgeous vocal arrangement highlights this beautiful song.

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The Majority – All Our Christmases (1968)

Pop-psych masters The Majority (aka Majority One) released a fine Christmas song in 1969.

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Big Star – Jesus Christ (Was Born Today) (1978)

A powerful hook to this Big Star Christmas song.

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Beatles – Christmas Supermash (2006)

Here’s a really inventive mashup of The Beatles’ early Christmas Fan Club records, put together by Tom Teeley.

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Oy Vey in a Manger

Oy Vey in a Manger” is a musical ‘comedy’ by The Kinsey Sicks, currently playing off-Broadway:

SYNOPSIS: Touring the US & the world for 24 years, The Kinsey Sicks return Off-Broadway with a deliciously blasphemous holiday musical, as they try to sell their 2000-year-old manger before it’s foreclosed. Crises arise, Jewish-Gentile tensions surface & mayhem ensues – in outrageous drag & glorious 4-part harmony.

Oy Vey in a Manger boasts The Kinsey Sicks reinterpretations of holiday classics, such as “God Bless Ye Femmy Lesbians,” “Satan Baby”, and “I’m Dreaming of a Vanna White Christmas”, plus hilarious Jewish satiric fare, including “Don’t Be Happy, Worry,” the Chanukah spa classic “I Had a Little Facial” and, of course, the requisite and new Christmas cuisine standard, “Soylent Night.”

What better way to celebrate the biggest of Christian holidays than with parody involving Jew-centric, transvestite, drag-queen debauchery. From one number, sung in a slow and spooky dirge of horror:

Jews better watch out
Jews better not cry
Jews better not pout
I’m telling Jews why
Santa Claus is coming to town.

Celebrate diversity! It’s Weimar 2.0!

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Argent – Christmas for the Free (1973)

Here is a beautiful Christmas song by the criminally underrated Argent.

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NYT: Far-Right Metal Band Ortel Wins Czech Grammy

Every day there is another example of how Based the Eastern European countries are, places where the virus of Political Correctness has not taken hold. From a NYT piece that includes discussion of the metal band Ortel:

PRAGUE — When the Czech Republic celebrated its equivalent of the annual Grammy Awards, the winner of the top award for a male singer was all too predictable: the crooner Karel Gott, for the 42nd time.

More so than any of his contemporaries, this 78-year-old performer known as the “Golden Voice of Prague,” who first took the prize in 1964, has outlived epochs and transcended politics. Today, Mr. Gott garners appreciation from all generations while also serving as a source of nostalgia for those who lived under communism in Czechoslovakia, where he made his name.

It is a feat all the more impressive as widespread nationalism and a lurch to the right are finding a voice not only in the republic’s politics but also in its music. Indeed, Mr. Gott had to share the spotlight of the 52nd Czech Nightingale awards in late November with a band that has risen to local fame for its nativist and often violent anti-Muslim lyrics. The far-right heavy metal band Ortel won second place in the best band category, and while its style could hardly be less like Mr. Gott’s, both have shown a strong appeal to a population struggling to define and assert its national identity.

In national elections in October, an extreme-right party, Freedom & Direct Democracy, won more than 10 percent of the vote.

“There is definitely an undercurrent of a national identity crisis,” said Pavel Turek, a music journalist with the Czech magazine Respekt.

You think?

The NYT goes on to bemoan:

… the highly controversial music of Ortel, which is known for disparaging Muslims in a country where xenophobic ideals are taking root in politics.

During a concert by the band in the industrial outskirts of the southern city of Ceske Budejovice on Saturday, leather-clad fans pumped their fists and sang along with one of the band’s most contentious songs, “Mosque,” which disparages Muslims with lyrics such as “They will cut off your head, for Allah’s greater glory.” There were around 200 people in attendance, including small children.

Speaking to The New York Times after the concert, the band’s lead singer, Tomas Ortel, said the group had the right message at the right time.

“I think people like our music because they see what is happening in the world and are tired of how the media falsely reports terrorist incidents in Europe,” Mr. Ortel said. He added that the band’s music “represents how they feel things really are.”

“I like that they are not afraid to say what they think,” Jan Vacha, a 46-year-old local mechanic, said before the concert. He said Muslims in the Czech Republic were “a problem and should not be here. I would like to help them in their countries, but not here.”

A storm is coming.

I’m betting the lyrics of this song are very pro-Czech and/or pro-Christian (which in Eastern European politics is code words for being pro-white.)

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The Red Pilling of Rod Dreher – Pt. 7,183

A couple of months back, I wrote a long form piece in Counter-Currents on “The Red Pilling of Rod Dreher”, and I continually marvel at his inability to see where evidence should take him. I therefore continue to occasionally monitor where Dreher’s emotions take him this week or that.

In response to this New Yorker piece (“Where the Small-Town American Dream Lives On”), Rod Dreher today begins a section of his essay with a great first sentence… which he then completely contradicts in full cuck-a-cious glory:

I’ve read the piece twice now, and am struck by how much Orange City’s stability depends on cultural homogeneity. The author makes it clear that there’s an effort underway to reach out to the Latino immigrants who have moved into the area to work in the agricultural sector. I wonder, though, if that can succeed. Orange City is overwhelmingly Protestant (descendants of the Dutch Reformed Church); the immigrants are Catholic. Midwestern niceness is doing a lot of good work there, and I hope they are able to integrate the newcomers.

Orange City, Iowa is overwhelmingly Protestant and the immigrants are Catholic? That is the lens through which Dreher tries to predict what will happen with an influx of low-IQ, high-fertilitiy, Mexican laborers? Lol.

We are talking Iowa here! Replace “Protestant” with white, Rod, and “Catholic” with Mexican. Census data from 2010 shows the racial demographics of the historically-Dutch Orange City thusly:

Orange City Demographics (2010)

The New Yorker piece notes:

In the past ten years, a large number of Latino immigrants have moved into Orange City and nearby towns to work on the hog farms and the dairy farms and in the meatpacking plants. Although the change has been large and sudden—in just a few years, some school classes have gone from nearly all white to as much as thirty per cent Hispanic…

If, as the New Yorker piece implies, there has been a radical surge in Mexican, mestizo,  peasant class immigrants into quaint little Orange City, which serves to rapidly bring down it’s 90%+ white population (largely of Dutch ancestry) ratio, does Dreher seriously think the “neighborhood” won’t change and change significantly?

Nope, Dreher ultimately resorts to his standard, knee-jerk position of Civic Nationalism. (Celebrate Diversity!) He writes:

Still, it’s hard to imagine how you would live there happily if you didn’t share a lot of the values of the community. I suppose you can’t entirely separate out ethnicity from the picture, but look, I’m a white guy of northern European stock, and I can’t say that I would fit in there. Aside from my distinctly non-Protestant religious beliefs, I am culturally of the South, not the Midwest. And, to be fair, I so admire and envy the sense of stability and continuity the people of Orange City have — such an oasis in liquid modern America! — that I would not want to be the interloper who upsets what they have by not being able or willing to conform to their way of life.

Again, Dreher pays lip service to ethnicity, glossing over it, before moving on to other less unseemly possibilities.

Orange City, it should be pointed out, lies in Rep. Steve King’s district. From The New Yorker piece, we learn of another standard trope in the history of continually-expansive notions of ‘civil rights’ in America: outside leftwing agitation.

Last March, Steve King declared in a tweet: “Culture and demographics are our destiny. We can’t restore our civilization with somebody else’s babies.” Steve Mahr, who owned the coffee shop on Central Avenue, decided to do something. He wanted to demonstrate that not everyone in Orange City thought like King, so he organized a protest in front of the courthouse. Although it was raining that day, he was gratified to see nearly two hundred people turn up. Mahr didn’t grow up in Orange City; he came to Northwestern College from a tiny Iowa town sixty miles away. This was another benefit that the college brought—yearly crops of young people to replace the ones who left. These arrivals came with fresh ideas, but within limits: since Northwestern was a Christian college, it tended to attract those who fit.

One day, someone asked Mahr and another young man who worked in the coffee shop why they had stayed in Orange City after graduating, and both of them said, Kathleen Norris. Norris was a poet who, after living a bohemian life in New York City, had returned in 1974 to live in her late parents’ house in a small town in South Dakota…

Mahr also had another reason for staying. He thought of himself as an agitator, albeit a gentle one, and he wanted to push Orange City to live up to its religious ideals. Although he now considered himself a progressive Democrat, he’d been raised in a conservative Christian family and used to vote Republican, so he felt that the people in Orange City were his people and he knew how to talk to them. He believed that Orange City Christians could be moved by certain kinds of moral arguments—ones that depended on the sanctity of life, for instance, or the command to love thy neighbor. He had one such argument about refugees. Suppose you have a hundred babies before they’re born, he would say, and one of them might grow up to be a terrorist—should you abort all hundred babies just in case? Of course not, his interlocutor would say. Well, suppose you have a hundred refugees and one might be a terrorist—should you risk a hundred lives by turning them all away?

So, let’s turn every small rural white town in America into the Lower East Side. And let’s use the faulty logical comparisons one might find in a pot-hazed freshman dorm to get us there.


Dreher concludes his piece:

A town is not a voluntary association — and this is the difference between the Tipi Loschi and Orange City. As a legal matter, as well as a moral matter, it cannot decide who it will allow to settle there. One would not want Orange City to have the right to decide that only northern European Protestants could settle there. Yet it’s still a reasonable question to ask: how far can the people of Orange City go to accommodate newcomers, as well as hometown dissenters from the conservative status quo, without losing what makes their community so strong?

Or, to put it another way, how liberal can Orange City afford to be? (I mean “liberal” in the sense that most of us are broadly committed to liberal values of tolerance, individual freedom, equality before the law, and so forth.) Do the goods that are so strongly and beneficially present in Orange City depend on a culturally illiberal foundation that no one there talks about, and may not be fully aware of?

Yes, Rod, Little Utopias such as Orange City have relied on racial/ethnic homogeneity as a precondition of their relative utopianism. Going forward, should Orange City become just another multicultural hell-hole then, qua Robert Putnam, social capital will fall accordingly and Orange City will naturally become just like any other multicultural non-paradise. Dreher’s question should concern itself not with the foundation of the Orange City vibe, which has already come to be actualized long ago, but on what it will take to preserve that vibe.

For a nation that decades ago unilaterally relinquished a rational, pre-1965 immigration policy towards a flood of non-white, third world immigration, there is, in fact, a culturally illiberal dynamic required if Orange City is to preserve its vibe: it starts with white identitarianism and the realization that race matters. This realization then leads, naturally, to white nationalism as a normative value, even if this white nationalism simply takes the form of “Reduce third-world immigration”.

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