April 16, 2015

The no-show of Jews in dance music: A survey of disco, new wave, synthpop, and dance-pop

While Jews may dominate the business side of the music industry, their accomplishment on the creative side has been more uneven.

They have always had an outsized influence among rock groups, although typically in the angsty misfit genres, such as heavy metal, punk, and alternative (Lou Reed, Kiss, Quiet Riot, Twisted Sister, the Ramones, NOFX, Bad Religion, etc.). Despite their participation in adversarial African-derived genres like rap (the Beastie Boys) and ska (the Selecter, the Specials), as well as aloof / too-cool black genres like Midcentury jazz (Stan Getz), they scarcely took part in the more agreeable genres within black music like R&B and disco. And where mainstream pop ranges in tone from cheerful to longing, the range of Jewish crooners is less sympathetic to the listener, ranging instead from schmaltzy to complaining (Barry Manilow, Barbara Streisand, Bette Midler, Neil Sedaka, Carly Simon, etc.).

They are well represented in genres where the relationship between the performer and the audience takes the form of spectator and spectacle, but are no-shows in genres where the performer is more of a background instigator trying to work the audience members up into a participatory activity among themselves, such as dancing.

Aside from reflecting the Tribe's well known tendencies toward neurosis, these differences also show their inclination toward the verbal and psychological (whether cerebral or emotional) and away from the corporeal and kinesthetic. Dancing takes as much basic body coordination as other salt-of-the-earth pastimes like playing sports, hunting, fishing, and camping -- all activities that the mentally oriented Jews find awkward and off-putting.

You really notice the absence of Jews in cheerful, danceable pop music when you listen to an '80s compilation. I usually listen to albums by a single group, where broad patterns in the genre are not so evident. But with the much larger sample size on the compilation I was listening to the other day, I was struck by how few of the groups I'd seen on lists of Jewish cultural figures.

Pursuing that hunch, I perused several lists (such as this one and this one), and did my own search of musicians whose Wikipedia articles mention them being Jewish and being a singer or musician in the new wave, synthpop, disco, or dance-pop genres. This restricts the focus from roughly the '70s through part of the '90s, when dancing was a popular activity.

The hunch panned out, with hardly any Jews in the more dance-oriented genres, unlike their heavy influence in rock and crooner pop.

In all of disco, there was only a single Jew -- Steven Greenberg, who founded the multiracial act Lipps Inc., the one-hit wonder known for "Funkytown".

Likewise in new wave, I could only find one confirmed Jew -- Nick Feldman, the bass player and half of the core duo of Wang Chung, who had a string of hits but are best known for "Everybody Have Fun Tonight". Jon Moss, the drummer for Culture Club, was adopted by a Jewish family from a Jewish-run orphanage, but I couldn't find a source that said his birth parents were themselves Jewish. Indeed, when asked in a recent interview if the orphanage accepted goys, he replied only with, "Probably, yeah," as though he himself is unsure of his genetic background.

Nor did the gods of synthpop treat the Jews as their chosen people. There's only one, and a halfie at that -- Pete Burns from Dead or Alive, who had a few hits but are best known for the dance classic "You Spin Me Round (Like a Record)". One of the members of Army of Lovers, whose biggest hit was "Crucified" in 1991, comes from an Algerian Jewish family, but I'm talking about the Ashkenazim here.

Paula Abdul was a dance-pop star throughout the late '80s and early '90s, though she too is Sephardic on her Syrian father's side (and Ashkenazi on her mother's side). I suspect her success owes more to the part of her blood that comes from the belly-dancing world rather than the tax-farming world. Taylor Dayne, however, is fully European Jewish; her song "Tell It to My Heart" from 1987 is the beginning and end of the story of Askhenazi dance-pop.

My search also turned up a handful of Jewish musicians listed under "new wave," but they're from the bands that were mostly playing rock, punk, and ska, with only a hint of disco, dance, and synth-rock -- the Knack, Rob Hyman and Eric Bazilian from the Hooters, Susanna Hoffs from the Bangles, and Danny Elfman from Oingo Boingo.

A tougher case to call is Blondie, whose guitarist (Chris Stein) was Jewish. They started off as a stripped-down punk and power pop band, and gradually evolved into a more eclectic style that mixed in synth-rock, reggae, disco, and rap. They were more of a bridge between the punk and new wave scenes, maybe proto-new-wave. Whatever you want to classify them as, they deserve an honorable mention in this survey.

Throughout human history, dance and music were two sides of the same coin, and only relatively recently has music become primarily passive on the audience's part, whether it's elite classical music or generic radio-friendly crap. Dancing is a group activity that bonds members together, giving music a key role in creating and maintaining a sense of community. Contemporary pop music that sets the stage for carefree dancing is an attempt to preserve those traditional roles of music.

Thus, the relative absence of Jews in dance music is part of their broader hesitation as culture-makers to create a more cohesive group-iness among their host population. (Please no retarded comments about the debt that Gentiles owe to all those schmaltzy Jewish winter-time tunes that don't have anything to do with Christmas.) They don't mind making a buck off of it as managers and record label executives, but actually creating it themselves -- too awkward, yucky, and shameful. Moving your body around in dance is fit only for the half-animal goyim, beneath what appeals to the mind of the mensch.


  1. In case anyone cares, some thoughts on those artists

    Wang Chung: Like their first album (From '84, what a year) and the Soundtrack they did for To Live and Die in L.A. ('85, strike while the iron is hot). As you say most people know them for upbeat stuff but they did some more low-key stuff too which is enjoyable.

    Oingo Boingo: I like quite a few of their songs. Definitely not always easy to listen to, doesn't surprise me that Elfman is Jewish. Still, given that they were late Boomers whose career took off in the 80's, their music has a lot of energy and technical sophistication.

    "Barry Manilow, Barbara Streisand, Bette Midler, Neil Sedaka, Carly Simon, etc.)."

    Don't let Neil Diamond off the hook as long as we're talking about shamelessly sentimental early Boomer Jews.

    (Lou Reed, Kiss, Quiet Riot, Twisted Sister, the Ramones, NOFX, Bad Religion,

    Only own one album by any of these guys. Quiet Riot's debut, Metal Health, from '83. Let's not forget that David Lee Roth fronted Van Halen before the late 80's though I'm not sure how much input he had into the songs. A big reason he was canned was because Eddie and Alex thought DLR just wanted to goof off rather than put more effort into doing a greater range of material.

    I do like some Kiss songs but, like so much 70's music, it inevitably suffers from sounding too austere, slow, and simple compared to 80's artists who took the baton and ran further and faster.

    I do think the attention given to many of these Jews can be put down to the Jewish gift for self mythologizing. As opposed to making music that the average well adusted person would get excited about. Let's also not forget NYC cheerleading that has elevated the likes of Lou Reed (if you ever want to provide evidence of Jew BS play Metal Machine Music to a Jewophile) and The Ramones to a much loftier repuation than they deserve. Kiss became rather infamous for the tactics they would use to look even bigger than they were ("fake it 'til you make it"). In the 70's it was believed that various parties would straw purchase Kiss albums in order to push them further up the charts.

  2. I think the Jewish distaste for amiable, celebratory, and convivial music has a lot to do with ancestral encounters with goy revelers turning into rampaging mobs without warning.

    They sense that if gentiles are too high spirited they will end up embracing their inner courageous but merry warrior. Which might lead to prideful gentiles fighting back against alien elements like the Jews.

    Of course, a culture that prizes materialism, knowledge, and education but doesn't give a damn about joy, honor, reciprocity, and self sacrificial physical courage (we're not talking about chutzpah) is not going to understand the value of art and activities which bind people together and basically sublimate the individual to a sense of belonging with one's kin, neighbors, and nature.

    Piggybacking off the Christmas song meme, we won't be rid of crass Jewish boasting until we're rid of them altogether.

  3. With regard to the likes of Barry Manilow becoming vultures eternally picking at the ever more putrid corpse that is American taste, let's remember that success in any field has as much to do with showing up on time, befriending the right people, and dodging the wrong people as it has to do with actual talent.

    Jews are studious, verbally agile, analytical, and don't suffer fools. Many a gentile artist has had their career get side tracked by a distaste for social maneuvering and political/financial judo. Meanwhile, plenty of mediocre at best Jew artists sign the right kinds of deals and make the right kinds of friends so as to ensure that they don't get the kind of financial and professional slapping around that many talented but naive gentile artists get.

    I sign of rising inequality (and rising Jewishness) is how many good artists got ripped off in the 80's. Read about what became of MCA by the early 90's. It goes without saying that many shameless Jew label honchos, agents, and promoters royally screwed countless artists.

  4. Iggy Pop of the Stooges (and a bunch of other stuff after the Stooges split) is another Jew who became an enduring icon in spite of, rather than because of, taste and merit. The stooges were hated by many in the amiable 70's but as the years have passed and as the culture has coarsened, Iggy's antics are now praised as ahead of their time.

    This is another example of nerds and bitter cynics having a laugh a the expense of the "dumb" 70's/80's masses who were too busy enjoying life to appreciate an obnoxious asshole. Iggy was indeed the first punk, but punk was never popular in America.

  5. how would you explain Steve Spielberg, who has a strong visual sense?(not that I disagree, but I'm curious)

  6. Iggy Pop is a Gentile angsty misfit.

    Bob Dylan is a great example of how Jews can be decent songwriters, but not performers. His tonal range is whiny to hokey, and the folk affectation is more like Bohemian shtetl LARPing than it is honoring the traditions of any host population (Anglo, French, German, whoever).

    But performed by a Celto-Germanic band like the Byrds, it sounds more organic and uplifting. It makes you wonder which other Jewish-composed songs would've been great simply by shifting the performance role to an Irishman.

    Paul Simon was great, though, from the days of the "Everly Brothers in Greenwich Village" sound, up through the "Phil Collins joins a South African folk band" days of Graceland. His earlier stuff sometimes teeters on the verge of schmaltz, but that was more common back in the '60s in general. By the '80s he was more upbeat, extroverted, and wanting to get the audience to cut a little rug.

  7. The recent trend in music has been away from rock and toward disco/EDM. As a rockist to my bones, I absolutely hate it, but I'm not sure what agnostic thinks of it. Northern European producers play an outsized role.

  8. Maybe his last (real) name threw me, whoops.

    Dylan recently whined a lot about the critics. He brought up all of the common jabs and basically said F you. Jews kinda hold grudges, don't they? Dave Mustaine (Jewish mother but he's never identified as a Jew) still hasn't gotten over Metallica firing his crazy ass (this happened after he nearly wrecked the touring van while driving drunk/high).

    I think so many narcissistic early Boomers were in such a haze in the 60's/early 70's that a lot of mediocrities like Dylan have been elevated to a level they don't deserve. Especially when so many talented people are ignored or unfairly ridiculed (like most performers who rose to fame in the 80's).

  9. "I think the Jewish distaste for amiable, celebratory, and convivial music has a lot to do with ancestral encounters with goy revelers turning into rampaging mobs without warning."

    From Danceteria to Dachau and Treblinka.

  10. "The recent trend in music has been away from rock and toward disco/EDM. As a rockist to my bones, "

    In most Western Countries (especially the U.S.) each successive generation has been less white. X-ers are darker than Boomers, Millennials are darker than X-ers, late Millennials are darker than earlier Millennials. Whites are the biggest fans of rock. Particularly the guitar virtuoso type of rock.

    The decline of rock since about 1992 coincides with the declining numbers of whites. Now I know that a lot of these non rock artists are white, but think about it. People do whatever is fashionable. Being fashionable these days means appealing to non-whites by default since there are relatively few white kids left. So out goes rock music especially the type that emphasizes sophistication and melody rather than repetitive simple droning.

  11. As Sailer recently noted, the audience of the massive hit Furious 7 is remarkably brown. In other words, remarkably stupid.

    Why do you suppose so much noisy junk is on the airwaves now? Although the music of the 40's and 50's wasn't very good, at least it had an aesthetic that was more refined than the grating droning that browns, blacks, and even a lot of yellows get off on.

  12. "The recent trend in music has been away from rock and toward disco/EDM."

    That's not dance music, though. It doesn't make you want to move your body, and the only people pretending to dance to it are just hamming it up in a look-at-me way, divorced from those around them. It's not like everybody having a good time when "Dead Man's Party" plays at the party in Back to School.

    Most music critics don't really respond to music (hence their sour-grapes dismissal of dance music), and need to reduce everything to something simple like instrumentation, rather than the intention of the performer or the response in the listener.

    In their minds, if is has a synthesizer and a drum machine, it's dance music, even if it numbs and turns off the body like techno and its off-shoots (dubstep).

    "Northern European producers play an outsized role."

    It's a reflection of their greater cultural homogeneity and cohesion that they non-ironically enjoy dance music so much. Most of Europe is like that, btw. SWPLs like to joke about how little rhythm white folks have, but it's only deracinated whites who tense up on the dance floor.

    Country music (the real kind) has always been linked with dancing. And the supposedly awkward Scandinavians still somehow managed to produce ABBA and Ace of Base (in addition to the dull tunes pumped out by the Swedish mafia of recent years).

  13. something else I've been wondering: when America begins breaking up, will the Jews stake out their own, homogenous territory within the U.S.?

  14. The decline of rock is due to the falling-crime and cocooning trend, not the immigration / inequality / striving trend. It's the same as the fate of jazz, which was cheerful and danceable back in the outgoing Jazz Age, but melted away during the cocooning Midcentury, to be replaced by schmaltzy crooners and novelty songs.

    White people making dance music has nothing to do with imitating cool black people.

    ABBA were disco megastars back when Sweden was still 100% Nordic. Kraftwerk pioneered synthpop before Germany became flooded with Kurds. Even more influential in '80s dance music was Italo disco from Italy, a country that is 92% Italian today, so probably close to 100% 30 years ago. (How white that makes the country, I don't know, but homogeneous nonetheless.)

  15. I know that whites make dance music. What I was getting at was TGGP's concerns about rock's future. The awful tastes of non causcasians/non-Africans means that rising numbers of these groups will lead to crappier culture. All of that music that was such a rush in the 80's, how much of it was made by non caucasians/non Africans?

    Also, rock has always been primarily popular with whites. As the white population declines so too will rock music especially rock that emphasizes melody and sophistication. Granted, Asians also seemed to like this stuff especially in the 80's and in Japan. But Asians won't be creating it. Asians are awful at making music.

    Also, the greater levels of diversity mean that we won't get the same sort of cheerful outgoingness that we got in the 80's and 20's. There's a limit to how willing people are to let their guard down amid hordes of aliens. So I'm not counting on another Van Halen coming about, even 20-30 years down the road.

  16. When predicting how the large demographic changes will affect popular culture, you have to look at how small or large the industries scale up.

    Movies are huge investments and must succeed at the national, or even international level. There are no regional sub-cultures on the production or consumption side. They're all made in Hollywood, and everyone's multiplex shows the same selection. The movie industry will be heavily hit by demographic changes at the national level, and they are the clearest example of pop culture becoming more retarded in tandem with the average IQ of the nation.

    But TV is more "agile" (to use their tired buzzword), with production able to take place outside of Hollywood, and importantly a greater chance for niche shows to succeed by offering thousands of channels on cable. TV has unbelievably dumb prole mind-slop, like Cops and Judge Judy, but it also has Mad Men, Breaking Bad, Downtown Abbey, the Independent Film Channel, and so on.

    The internet is even more able to provide sub-sub-sub-cultures with something for them -- for better or worse. It allows freakazoids to enable one another into outer orbit. But you don't have to consume or even be aware of any of that stuff, burrowing away in your own little niche of websites, podcasts, YouTube channels, etc.

    Pop music is somewhere between the internet and TV, the internet for streaming or on-demand type services, and TV for traditional radio stations. You can be blissfully ignorant of all the black-and-Mexican oriented crap since we're not all plugging into a small number of local radio stations or MTV, so that music providers don't have a one size fits all / lowest common denominator approach like they used to. Again for better or worse -- there's a whole channel devoted to music videos from the good old days (VH1 Classic) but also entire channels devoted to retarded rappers-in-strip-club videos.

    Will there be another Van Halen at the national level? Probably not. Rock (or whatever its successor turns out to be) will move in the direction of country, becoming the de facto music in white regions of the country, which will support a local / regional touring base.

    The Church of rock will become smaller but purer.

  17. I think that the variety on television is also related to status-striving and overproduction. Not only do more elites want to establish themselves by making TV shows; but the audience themselves want to show off to their friends by watching TV, so they demand greater variety so theys can have better bona fides. During status-striving, people just want to delineate themselves as much as possible from the mainstream.

    There were, afterall, originally only 3 TV channels. I don't know much about TV in the 60s and 70s, but the impression I get from shows like MASH and the Mary Tyler Moore Show is that tastes were more mainstream, and watching television was more communal. There would be a big new show, and everybody would watch it. For a long time, the MASH finale was the highest-rated program ever, until like the 2000s..

  18. As for how non-white a regional population can be and still make great pop culture for normal white people, look at California in the '70s and '80s. Non-Hispanic whites went from roughly 75% to 65% to 55% from 1970 to '80 to '90. That didn't stop it from being one of the centers of white pop music at the regional level, some of whom were catapulted to national stardom.

    Flyover country and New England is still 70%+ white.

    Most of the real doom-and-gloom predictions are coming from people who moved, or whose parents moved, into the regions that naturally belong to Amerindians. I don't mean "justifiably" but in the sense of amoral laws of nature. The white man has always been thin and rootless out West, including the Southwest beginning with Texas.

    The other source of doom-and-gloom is the East Coast from Boston to North Carolina. The Bos-Wash corridor has been diluted of founding stock ever since the Gilded Age waves of immigration, so it's not much of a natural homeland for white culture by now.

    And just like the heavy reliance on imported slave labor in the South before, the Mexican population is soaring and nearing 10% in many states below the Mason-Dixon line (from Maryland down through Georgia, Florida having been fucked long ago).

    It's not true that flyover country is simply behind the curve. It has a more stable white population and culture, while the power centers along the coasts, which attract native transplant strivers and foreign immigrant strivers, have more unstable populations. It's not like every place is equally unstable, so that "it's only a matter of time" before Ohio looks like California.

    In fact, Ohio's non-Hispanic white population hasn't even shrunk by 10 percentage points across four decades -- 90% white in 1970, 81% white in 2010.

    Pennsylvania, most of which is Appalachian hillbilly country once you move outside the Philly metro area, also only decreased from 90% to 80% white from 1970 to 2010.

    Tennessee, despite the black hole in the western plains part of the state, only shrank from 84% to 76% white during those four decades.

    If you already live in flyover country, try to keep some perspective about how different the various regions of the country are, and how you're getting an overly dark picture of the future from reports out West or on the East Coast.

    If you transplanted to one of those swamped-over regions, or your parents were the transplants, strongly consider moving back to a more stable and sustainable region of the country. There's no point in trying to impose and uphold Hellenistic civilization in India, nor Roman in Libya, nor Boer in South Africa, nor white American in Texas or California.

  19. Two of the four members of Phish, by far the most popular band in a genre that is completely ignored around here, are Jewish. And people dance at Phish shows.

    The Grateful Dead had one Jewish member, drummer Mickey Hart. The Jefferson Airplane had two half-Jews, Marty Balin (nee Buchwald) and the great Jorma Kaukonen.

    And here is the best band nobody's ever heard of covering a big 80's New Wave hit. The singer-guitarist is a member of the tribe.


  20. "There were, afterall, originally only 3 TV channels. I don't know much about TV in the 60s and 70s, but the impression I get from shows like MASH and the Mary Tyler Moore Show is that tastes were more mainstream, and watching television was more communal"

    Those decades were the golden age of Boomer focused mainstream culture. The Boomers were largely white (so were the preceding generations) and they largely shared the same values since they grew up in (and were still living in) a more unpretentious/equitable time period. The Greatest and Silent gens. were even more solidly "American" (e.g. white, Christian, impassive but not dour, somewhat cocky but still amiable).

    The combination of low inequality, low-intermediate striving, and racial/cultural homogeneity meant that people were largely on the same page from about 1920-1980. There's the obvious caveat that early Boomers/very late Silents made a lot of noise in the late 60's but they chilled out a bit by the mid 70's.

    By the 1980's striving really began to accelerate and we also saw producers beginning to pander to the large numbers of non-white Gen X-ers. Non-white actors began to become more common (esp. as leads) in mainstream movies and shows (playing "deeper" roles rather than just being fodder for comedy and exploitation as they were in the 70's and before. New Line shoehorned in black lead characters into the Nightmare on Elm Street series beginning with part 3 because "urban" (e.g. black) video stores and theaters reported that the films were very popular with black kids. The later Friday the 13th movies also had black characters staring with part 5. 80's media was still enjoyable though, since even black characters of the period were fun and personable instead of being over the top macho thugs or sassy wisecrackers.

    As both striving and diversity accelerated in the 80's and beyond we've seen a serious fragmentation, financially and socially so culturally as well. It's not just that blacks and whites consume different culture; it's that whites from different regions and classes vary in aesthetics and tastes also.

    White Boomers largely agree on the pop culture of the later 60's/70's. Meanwhile, white X-ers who came of age in the 80's/90's tend to vary widely in aesthetics. It seems like growing up in a time of rising inequality and rising ethnic diversity instills a persistent sense of tension about your status so you constantly are posturing to be cooler than thou. Putting up a certain "front". The Boomers on the other hand just went with the flow, baby. They went wherever the current took them, not in the sense of being offensively trendy but in the sense of being relaxed and upbeat about the culture.

    That's a reason Boomers are great entertainers; they have a good "feel" of the situation, of being in the moment. Like how good athletes are "clutch". X-ers and Millennials didn't really have much of chance being swamped by the wake of the striving that took off in the 80's. But at least X-ers got imprinted by the fun 80's so they at least can grasp what makes people tick even if they remain a bit too cautious to go for the throat like Boomers.

  21. Stephen Bray might be a Jewish name. He wrote or co-wrote the greatest dance track of all, Into The Groove, which plays over the funniest scene in movie history.


  22. NOFX and Bad Religion (Jon Stewart's favorite band) are praised as smart and clever while Pennywise was the dumb jock band because they were goyim surfer bros and they appealed to *gasp* blue collar gentile white guys and not some fuckin maximum rock n roll dorks. Ditto for nyhc bands like Agnostic Front and Cro-Mags. The Jewish hippie-influenced MaxRnR crowd was really terrified of the anthemic qualities in hardcore punk that appealed to prole whites, even when it came from an all black band like Bad Brains

  23. I'm not as knowledgeable about MRR, but was Tim Yohannan or the NOFX/Bad Religion guys Jewish?

    The Jewish rock star I've read Jews express the most pride in is Marc Bolan.

  24. The Bang a Gong guy? Really? I'd take DL Roth over him.

    Of course, Bolan peaked in the early 70's so he naturally makes for great early Boomer nostalgia fodder. And those loudmouths' revisionist history has regrettably infected a lot of X-ers and even Millennials. Late Boomers and very early Gen X-ers seem to be the only ones who don't automatically accept the early Boomer mythology that culture peaked in the late 60's/early 70's.

    Hearing about Jew music culture (and some fully Jew music) I'm struck by how it often seems to lack a real strength, a conviction, a will. Seems like having your nose stuck in studies and scheming for umpteen generations really drains the soul and heart out of you.

    Like Agnostic sardonically says, Jews, even many of the big stars who are the beneficiaries of much ethnic back scratching and areas/time periods that value cynical posturing rather than earnest and tasteful resiliency, are doomed to sound like they're LARPing as farm hands, preachers, soldiers, and troubadours.

    Still, the late Boomers were cool enough that there are a few late Boomer Jews I don't mind.

    I read Neil Sedaka's Wiki (or rather scanned it). There is an embarrassing story about him sobbing over a Clay Aiken performance. Is this what the founding fathers fought for?

  25. A bit of an amendment to the post about diverse casting in the 80's: I just looked at Wikipedia's racial demo. article. The proportion of blacks went up quite a bit in the 70's and 80's, but in terms of sheer numbers whites far surpassed blacks. So why did token black characters get more popular? Probably due to crass marketing.

    I wonder too if the increasing emphasis on non "regular" Americans in the 80's and beyond is a sign of rising striving. When people are more modest the emphasis is on ordinary characters (Didn't Hitchcock say that the best drama comes from an ordinary person in an extraordinary situation?).

    Now that crassly PC and SWPL types dominate things, we've been hit by bigger and bigger avalanches of characters who aren't masculine white Christian guys. Even when the U.S. is mostly white gentile. Who could forget the cast of Captain Planet? We don't need no stinkin stoic American white men.

  26. Brett Gurewitz from Bad Religion is Jewish, and two guys in NOFX are Jewish. Tim Yohannon was a manipulative piece of shit. Jello Biafra is a half-fag on top of being a dipshit.

  27. [Bob Dylan's] tonal range is whiny to hokey, and the folk affectation is more like Bohemian shtetl LARPing than it is honoring the traditions of any host population (Anglo, French, German, whoever). // But performed by a Celto-Germanic band like the Byrds, it sounds more organic and uplifting.

    That is a really good observation.

  28. Rock (or whatever its successor turns out to be) will move in the direction of country, becoming the de facto music in white regions of the country, which will support a local / regional touring base.

    Hipster-favored rock/folk/country seems to be the direction, with a signature style taking shape. It incudes performers that range form more traditional (Jason Isbell and his former band Truckers) to more SJWiish artists like Father John Misty/J Tillman.

  29. "They are well represented in genres where the relationship between the performer and the audience takes the form of spectator and spectacle, but are no-shows in genres where the performer is more of a background instigator trying to work the audience members up into a participatory activity among themselves, such as dancing."

    The current EDM boom features people staring *up* at a DJ(s) on a stage while people jump around. It's not dancing. So maybe there are more Jews now.

    Off the top of my head I know the big NYC based DJ from Montreal A-Trak is Jewish (he won a world dj championship at age 15), a synth-dance-pop duo out of Montreal, Chromeo, has a Jew and an Arab as members.

    The deceased dj, DJ AM was Jewish.

    A disproportionate share of the world's top EDM/Synth-pop acts are French, Dutch, or Swedish, so there's another blog post for you.

  30. Agnostic, I don't remember the exact post but in some lengthy comment section on Sailer's blog someone brought up your belief about gays being mal developed rather than feminine. Sailer disagreed, pointing out the femmy things that gays dig like playing dress up and gossiping etc.

    It sounds convincing until you realize that the core feature of women (nurturing) is mostly absent in homos. I also found it odd that nobody brought up the fact that "feminine" long hair is nearly impossible to find on gays. Long hair takes pride and commitment and also thick skin since people invariably notice longer/bigger hair especially on guys.

    But gays don't go for longer hair since you need to put effort, love, and patience into longer hair. Gays, being eternal Peter Pans, betray their desperation and shallowness as they bounce from one trend to another whether it's in music, or clothes, or apple products, or trendy foods, or clubs. Still, even though gays are obsessed with being trendy they end up trying so hard to be in that they often end up being out (of fashion and lol the closet). And since gays have awful taste and can't read people well, they typically don't even have a good grasp of style and fashion anyway. I suppose it can't be fun to clean up your hair after horny homos were sweating, slobbering and jizzing in it. So just keep it short.

    It's not exactly feminine to be partying, drugging, and screwing oneself to an early grave. And some of these "typically" feminine things involving grace and beauty that we're supposed find charming when done by gays actually become degrading and narcissistic in the hands of gays.

    Anyway, if this comes up again on his blog maybe you (or me) ought to try and correct him. Sailer isn't that PC about gays but I don't think he really cares all that much about them. Most Boomers after all don't. It's hard to learn about something that you don't really care about.

  31. Most people subscribe to a sex role theory of gayness to avoid persecution by the thought police -- it makes gays look like something normal, only out of place. Feminine ways in a man, or normal male ways taken to an extreme.

    Both ideas are too dumb to take seriously. Gays have zero nurture instinct, the defining feminine trait, nor any of its secondary traits -- warm personality, sacrificing own interests to tend to others, getting warm and fuzzy when they see babies, etc.

    Dressing up and gossiping are not the defining feminine traits. Trannies dress up and gossip even more -- does that make them even more feminine than faggots? That you feel just like you do when there's a girl around?

    Gay dress-up is no different from little boys role-playing, dressing up in costumes, and so on, trying out different identities before their own personality gels into place during adolescence and early adulthood. But since they stay stunted in childhood, gays never leave that stage of wanting to try out different identities and appearances.

    Gays don't gossip like women do -- to police anti-social behavior by warning others of bad apples. Gays gossip only to indulge in schadenfreude, and to act like a tattle-tale who always spills the beans rather than keeping some things secret like an adult would.

    When has a fag ever used gossip to shame someone for behaving like a slut? Never. They share that news without condemning them, indeed usually giving their giggly "you go girl!" approval.

    When does a group of fags give a bunch of mean disgusted glares when an over-the-top fag walks into the room? Never. Girls would glare and say amongst themselves, "Well... who does THIS BITCH think she is?" Gays are all, "Well well well! THIS HOT BITCH is looking hot!"

    Homo behavior is a negation and inversion of female behavior.

    Anyone can see it if they look, but conservatives would rather score yuk-yuk points about gays being girly. They are infantilized, which itself is kind of girly since females are more neotenous. But they lack the core feminine traits, which normal girls show as early as childhood ("Oh look, a baby!").

  32. It disturbs me that no one ever floated the theory of "male homosexuality as infantilization" before. I figured it out from casual observation in a city with lots of homos. It's that obvious.

    No long interviews in a clinical setting, no experiments in a psych lab, etc. Just look at the phenomenon and tell us what you see, without any preconceived framework that it must fit into. Faggots are Peter Pans -- mystery solved.

    I'm sure you'll be reading my published articles on it in a peer-reviewed journal, right after James Watson receives the NAACP Image Award.

    I think it shows how afraid everybody is these days, empirical types too, to view homosexuality as fundamentally abnormal and warped. The outcome has to be some amusing and cute view of gays, even if it's poking some fun and a bit condescending. "Gays as girly and sissy" makes it sound like they're just on the girly/sissy range of normal males.

    But being stunted in early-to-middle childhood -- that's profoundly disturbed development. No range of normal males is like that, not even nerds who watch anime. So infantilized that they find everything about female sexuality disgusting and yucky and cootie-infested -- not like the anime-addicted nerd who still gets a boner to girls and wants to be with them.

    The anime nerd is pathetic, but not fundamentally abnormal and warped like the homo.

    "Gayness as infantilization" is a lot harsher of a view than "gayness as feminization," and more in-line with homosexuality as way-out-there abnormal. It's clear which is more accurate, so it all comes down to how willing you are to hold a social science view because you don't want to hurt gays' feelings too much, or how willing you are to have them on your side in some way or another (as men rather than women, as whites rather than blacks, as snobs rather than proles, or whatever).

    Dialing things all the way back before the 1970s on homosexuality -- you could not do anything more to forfeit all your coolness points nowadays. Gays have been *the* group you have to have a cool friend from, or affiliate with, or sympathize with, or at least condone, if you want any social status.

    I honestly done give a damn how high or low my status is. That's why nobody else who'd seen homos had noticed the pattern that was right under their nose.

    There must be plenty more low-hanging fruit out there that you don't need brains to figure out, but simply a willingness to ignore perverted contemporary taboos.

  33. "'The recent trend in music has been away from rock and toward disco/EDM.'

    That's not dance music, though. It doesn't make you want to move your body, and the only people pretending to dance to it are just hamming it up in a look-at-me way, divorced from those around them."

    Patently false. Have you ever danced to, for lack of a better term, EDM? It's ecstatic and extremely communal. I'm not a fan of the arena-type EDM, but there's a lot of really great and groovy electronic dance music out there. And not incidentally, lots of Jewish DJs. I don't put DJs on the same level as instrumental musicians, but they aren't totally devoid of creativity and craft, either.

    I don't think you can validly preempt a discussion of Jewish songwriters in this case. The "schmaltzy" Christmas songs you mention, written by such titans of American culture as Irving Berlin and whatnot, are just the beginning. It's probably true that Jewish people are not as represented in hard rock as in other genres, but so what? Hard rock is just another genre, it is not some standard-bearer of either musical quality or Anglo culture. And the relative low representation of Jewish people in it is not some indictment of Jewish people, just as the relative lack of white people in hip-hop is not an indictment on white people.

    You nutty kids and your Jewish obsession.

  34. Meant to write "dance music" instead of "hard rock" in my previous comment. But I suppose it could apply to hard rock as well anyway.


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