Excuses For Not Talking About the Jews
I'll be joining Carolyn Yeager again to discuss and rebut various excuses not to talk about the jews, live at Voice of Reason on Monday, March 5th at 9PM ET.Listen to the Heretics' Hour | Carolyn Yeager
UPDATE 6 March 2012: The Heretics’ Hour: Excuses White Advocates Give for Not Talking about the Jews : Voice of Reason Broadcast Network (mp3)
Labels: carolyn yeager, interview, jewish influence, vor
posted by Tanstaafl at 3/04/2012 10:18:00 PM
12 Comments:
O/T - jewish girl enriches higher education in Britain:
Great rack
And she hasnt even got a great rack....
That Telegraph article no longer has a picture, one look and my j-dar was pinging.
The Daily Mail is also covering it.
Very good interview Tan. I really enjoy listening to you and hope you do more of these radio shows.
Have you ever had any contact with James Edwards?
I'd love to see you on his show.
this girl has no rack, but she has the requiste over-abundance of self worth; she'll be a shoe-in at Oxford. http://preview.tinyurl.com/8xmsyep
Very good interview Tan. I really enjoy listening to you and hope you do more of these radio shows.
Ditto!
I thought it was great---and I am happy you and Caroline have joined forces, so to speak. I am learning loads from her podcasts.....
http://xymphora.blogspot.com/
I can say what I want about the Greeks, but there is a group so powerful it insists on, and gets, an absolute veto on how it is discussed (or even whether it is discussed)?
How did the Jews amass so much power they even control the way we think about their power and how they use it? That's the interesting question. It is an amazing accomplishment, so amazing one would think it would be the subject of much intellectual debate. It is one of the most interesting questions of our time, with massive implications in terms of general political control. Of course, we're not allowed to ask it, or even think about it. Atzmon has some theories. He touches the third rail in a way that might cause some people to think, and thus needs to be harried out of existence. Atzmon has created a kind of political theater, the reaction to which proves the larger point.
Theoretically, what if a group of people who think of themselves as distinguished from the larger group of human beings acted in concert, often covertly, to accomplish group supremacist goals, all of which are completely evil? What if they were able to use their power, and their covert exercise of power, to control even the way we think about them? What would we, could we, should we, do to stop them?
at 3/09/2012 08:53:00 PM 7 Comments
Someone should send this interview to Jared Taylor, Richard Spencer, and James Edwards.
The power and influence of the jews seems to be diabolical doesn't it?
I really do think they are, as Christ said that they are the "Sons of Satan" I believe we are engaged in a spiritual battle and until we realise this we are defenceless
I do not subscribe to the idea of jewish history as myth. It is pretty well documented after all.
"I do not subscribe to the idea of jewish history as myth. It is pretty well documented after all."
History is narrative. It's right there in the word. Stories can be and usually are told from different points of view. The point of view matters. The jewish version - in which the jews are always innocent victims, and Whites are their victimizers - is the narrative which currently dominates.
Which of these ideas do you reject?
Where can I find Satan's documents?
A lovely example of the jewish idea of historical writing.
http://www.thefreelibrary.com/%22A+struggle+which+has+ended+so+beneficently%22%3a+a+century+of+Jewish...-a0163198380
Helvena
There's a point to make about the argument, "instead of being negative and focusing on Jewish problems or other perceived out-group problems, we should be positive."
I actually agree with that to some extent, but to talk meaningfully talk about positive things like our presence in culture, in music, in theater and so on, you have to begin by asking "who's culture is this? Who is making this culture?" Is this a Black thing, an Asian thing (from what part of Asia?) is it an Arab thing, and of course is this person, this composer or artist or whoever it is, are they Jewish or Jewishly involved, for example married to a Jew?
You need to look this up, and share the information if it's available, otherwise you're just babbling.
Does Jewish descent or part-Jewish descent count for that much? It certainly does in the opinion of Jews, which is why there are sites like Jew Or Not Jew? discussing exactly how Jewish culturally important people are.
And of course a lot of culturally important people are Jewish or part-Jewish, which suggests that they will share in this mentality, being keenly aware of who is Jewish and who isn't, and (to be blunt) favoring Jews and Jewish influences for ethnocentric reasons. There's a network to be aware of.
On the other hand, with non-Jewish Whites there's no network as far as I can see, and they seem to be oblivious of the issue and of the fast-tracking of Jews and Jewish influence. That may be because the Whites are fully naive, or because they are intimidated enough not to educate themselves beyond knowing that there are things one doesn't ask about, or they may be fully aware in secret but do and say nothing because it's career death for a White to be thought interested in such issues potentially from the point of view of promoting an interest that's competitive against the Jewish interest. It comes to the same thing: silence, passivity, and non-Jews not favoring each other the way Jews and part-Jews favor Jews and Jewish interests. There's no web of power and mutual cultural promotion to trace. How do you talk about that?
The obvious, natural thing to do is to talk about the Jewish (and liberal and multiculturalist) power network that is dominating the cultural space, and then what's left over and isn't part of the fast-tracking of the favoured people and influences is the White gentile space.
Here's an example of what I mean by the fast-tracking of cultural influence, which I read in a biography of the composer Prokofiev: he was accosted and urged by Jews to compose work based on Jewish tunes. He didn't know anything about it, he didn't want to know anything about it, and becoming a vehicle for the aggrandizement of Jewish folk culture was the last thing on the great composer's mind, but they were inquiring after his knowledge, which was sadly lacking from their point of view, and, fairly politely pressing him to get to work. This is an example of how an ethnic music can become influential and important, without it having anything at all to do with the inherent attractiveness or interest of the music. What mattered was that this culture was going to become more important and take up more cultural space, purely because that culture had an omnipresent, persuasive and aggressive lobby that chose to compete culturally in this way, whereas nobody would have pressured a Russian composer to start basing his works on, say, Anglo-Saxon tunes.
Here's an example of where thinking about being positive can lead. I started with the idea of focusing on positive developments in popular music, even though mass market popular music is in pretty terrible shape on the whole, as far as being a culturally healthy product of White creativity goes.
Classical music has been White (and now Asian too) and there's one kind of classical music that has emerged in recent decades as its own new genre with fans and solid sales, and that's film score music. Great! So let's talk about positive new things that Whites are doing in the modern cultural space.
I started with the music for the Lord of the Rings series. The composer Howard Shore turned out to be Jewish, so it wouldn't be fair to claim that as a White accomplishment. I looked up another prolific and successful composer, Danny Elfman, who of course is also Jewish. And so it went.
There are some successful non-Jews, such as the amazing John Williams, some of whose best work one can appreciate in scores such as Schindler's List, Munich and so on. But overall, the exploration made me aware of how very Jewish Hollywood is, and in an environment that Jewishly dominated how Jewish the list of favoured talents and influences will turn out to be.
The only White non-Jew I can find who's managed to put together anything like a school or a movement is Hans Zimmer, whose work and whose school of composers are popular with audiences (in movies such as Gladiator, Batman Begins and The Dark Knight) but relentlessly blasted by Christian Clemmensen at Filmtracks as a barbarous anti-music.
For the rest, there's not enough space. Not enough films are made, with budgets for things like orchestras. Individual White non-Jews with a mandate to serve directors etc. who are heavily Jewish can contribute their talents (when there's no Jewish composer who could do the job equally or nearly equally as well) but not really a direction.
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