Top of the Nazi pops: towards a racially pure top ten
January 1, 2009
“We are on the verge of moving into the music business in a big way – something with enormous cultural, political and financial potential.”
BNP Chairman Mr. Nick Griffin 2005
What would British music sound like if it was free of racial ‘impurities’ and foreign influence, what would the undefiled, ‘indigenous’ British top ten sound like? The obvious answer would be that it wouldn’t sound like anything because music has been for millenia a fertile mix of multiple cultural influences echoing the mixed racial and cultural profile of the people who make it. Despite this, white supremacists seem intent on defining ‘M.O.W.I.’ – Music of White Origin – as the genre of choice of the true white indigenous British race.
The immediate problem with this genre is that it’s self imposed limitations – disallowing any ‘foreign’ influence and performances by non-white musicians – mean that it is mining an increasingly narrow and sterile musical seam; Imagine musical culture without Jazz or blues influences, without Rock music (that fact that rock ‘n’ roll is ‘black music’ seems to have been overlooked) no Eastern influences, no syncopated ragtime, no Reggae, Dub or Ska (the music favoured by working class 1960s skinhead and sued-heads), no soul, disco, funk or house, dubstep or electronica.
What should the ‘racially aware’ Nazi listen to if they are to avoid being contaminated by impure culture? European classical music up until the modernists (1900s onwards) is safe enough (though not as white as we’re asked to believe), Folk Music as a synthetic genre and in the form of Morris Dancing can realistically be argued to be purely indigenous – if by indigenous you mean southern European based on medieval and Arabic forms – military music before the pernicious influence of America and Jazz seems to be pure but further investigation indicates otherwise . This leaves religious music of the strictly Presbyterian ‘Onward Christian Soldiers’ variety – avoiding the Psalms and any mention of the Judaic roots of Christianity.
Despite all of this, M.O.W.I. can be divided roughly into two camps ‘Traditional’ which includes mawkish ‘authentic’ folk renditions (think; Enya doing the ‘Horst Wessel Song’), martial music and some Classical music that makes it past the race censors and ‘White Rock’ which presents the listener with a choice of Oi Punk and US-centric Supremacist Heavy Metal. These charts compiled on a ‘Know your enemy’ basis are scientifically gathered from genuine nazis (with comments), votes culled from recent bulletin board posts, fascist websites and our very own homegrown cultural opinion leaders, the British National Party.
What is interesting about the list is it’s apparent pedestrian mundanity – very little of it is individually offensive – it’s only when it is compiled as a list that it’s dark peculiarities become apparent. The omissions form the list are more interesting than the music that has been included; where is Bach, Beethoven and more stereotypically, Wagner? where is the Nazi favourites ‘Screwdriver’? and even more confusing, no Country and Western?
‘Music Of White Origin’ British Top Ten
“Can’t beat a good pipe band, especially one playing the sash”
2. “Any Old Iron” Chas and Dave
“Ok, not really British but If anyone here is not moved by this song, then they shouldn’t be here”
4. “Donw To Earth ” Richie Blackmore’s Rainbow
“I preferred when Graham Bonnet was lead singer…”
5.” English rose” The Jam
“Its just a shame that Weller married a jungle bunny…”
6. “Cars ” Gary Numan
“.. Far better than the Black Crap and the Marxist Indie rock rubbish of today.”
7. “Aces High” Iron Maiden
8. “Ave Maria” Cecilia
“Not sure if I prefer Ave Maria in German…”
9: “Blacksmith Song” The Hoolahan Sisters
“…to thIS day its mocked by the liberal urban media.”