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Old February 17th, 2004 #1
Alex Linder
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Media Notes

by The Crux

February 2004

Hello, happy VNN readers:

Crux here, back from another unexpected hiatus. The ostrich business is full of ups and downs, as you might imagine.

But enough personal, you know all I really care about is knocking some jew dicks in the dirt. So let's get started. The first dicks needing dirt, more than a fag who's posted only 32 rectal encounters as of December 13th, are the ones producing commercials showing whites stupid incompetent feckless wimpy weird disgusting and ten or fifteen other satellites in the constellation of undesirable. Mr. Linder has started a thread on this on the Forum. You can get over and add your own, but these were notable as my February letter went to press.
First, a VNNF member's mention of one he's seen:

"swansons frozen foods, has a commercial featuring a white family. A mother is in the kitchen with her kids, narration starts "you want something quick and easy for your kids", kids are shown eating instant dinners. the Narrator continues, "you want something for yourself", mother is shown eating different product. Narration finishes with "and your husband likes wearing your frilly panties, we can't help you with that", In walks in a Nordic male."

A couple recent ones of my own:

- Jimmy Dean ad showing three white-male dumb and dumberers chasing squirrels, trying to touch them. White people are weird. They aren't cool. Don't be like them. They chase squirrels and dress goofy.

- Budget rental car ad: "Why so grumpy, Mr. Frumpy?" -- a competent black businessman is enraged by the unprepared and indifferent white partner his company teamed him with. Yeah, you can bet there are two or three cases of this in our land of 300 million. The white seems to be doing an impression of Kevin Spacey in "K-Pax," although I haven't seen the movie.
Televitz is anti-world. It is a photo negative of reality.

Country music...

Jigs and liberal themes make their way into increasing numbers of songs. CMT runs a Dan Rather hour-long interview with Toby Keith in which he remarks on the fights he's had with record companies over which songs to include on his albums, especially those even mildly critical of women. No doubt these fights are real, and the fact that the material fought over is mild does not change that. In some of the top-40 roundups CMT does, such as "best dressed" or drinking songs, you'll hear today's singers and songwriters such as Phil Vasser talk about things sung in the '70s which there's no way you could "get away with" today. A portion of the human experience has been amputated in country music. Feminism is the dominant paradigm in the jew-controlled media, and it dictates that anything men can do women can do better. They have all the traditional female virtues -- and all the male toughness, logic, and determination too. Anything suggesting women have weaknesses is unrecordable, almost unthinkable. It simply would not be produced in 2004. It could be, it just isn't, because it won't be played.

Once the tacit rules are established in a field, whether country music or journalism, there's a ratchet effect that comes into play: only a certain type goes into the field. Anybody who sings or thinks differently is marginalized. That is the intention of the power brokers. In musical media as well as political journalism, the brokers are the same type. It is not that jews dictate the content of country songs, although they do dictate the gratuitous negro placement in videos, it's that they dictate which ideas and memes must be avoided. Sing about love, nobody's threatened. Start singing about ancestry, or women doing dirt to men, or the good old political South -- they won't produce or play or disseminate it. What the people want has nothing to do with it. They will decide what the people are allowed, and that certainly means no highly popular anti-nigger songs from the likes of David Coe.

There's a direct parallel between real fights over bogus issues in country lyrics, and real fights over bogus issues in politics. Just as egalitarian conservative organizations have a much harder time than egalitarian liberal organizations in finding foundation funding, even though they're both founded on the lie that race does not exist. These real fights over inconsequential differences represent the day-to-day motion of boundaries moving leftward in line with the dictates of the agenda-setting jews. Degree by perceptible degree the outrageous becomes the yawnworthy. The browning of standards goes hand in hand with the browning of the demos.

Today, even Hollywood actors are less guarded in their public statements than country singers. Today's country performer is always polite, respectful, deferential, and self-effacing. Not out of honest possession of these qualities, necessarily, but self-protectively - out of fear. One slip can kill his career, just like in TASSland of yore. The country singer can be "wild" by wearing a mid-riff baring top, or by pushing some sort of liberal politics, but he'd better not cross the racial line.

The only unguardedness that is tolerated -- and by tolerated I mean celebrated -- by jew media is sexual libertinism, and all its accoutrements, or lack thereof. Since country is more controlled and traditional, in that its music is comparatively slow and intelligible, there's farther to go. Hollywood decades ago completed the decadence circuit. Country still has room to degenerate. It can be sexed up and politicized down. As an example of the latter, CMT, owned by the jew who owns Viacom, parent of MTV, will debut Waiting in the Wings: African Americans in Country Music. You can guess that evil White forces kept blacks out, just as they kept them out of NASCAR. You can also bet they'll push history-flavored lies about African musical forms forming part of the foundation of country music.

The tendency of any modern media form, take for examples country music and stand-up comedy, is toward sexual libertinism because weakened self-control resulting in and enhanced by promiscuity fits what might be called the Judeo-Corporate Agenda. Self-control is too good for the White masses. It might give them ideas. Once they controlled themselves, their spending, their genitals, and their behavior, they might get ideas about controlling their kids, their wives, their families, their neighborhoods and their nations. They might wish to create a space outside the Judeosphere - a White context, if you will, in which they can reproduce their kind and their kind's culture. The jews and Mexican-employers prefer to keep political and cultural control in their own clutches, and fill the land with vacant-eyed Wal-Mart shoppers. I employ no metaphor. Look at the faces, next time you're in Wal-Mart if you don't doubt that dumbing down and breeding down are extraordinarily far advanced in today's AmeriKwa.


The Martina McBride song "Love's the only house" is an excellent example of political liberalism that characterizes the "socially conscious" country song, of which most female singers record a few. Any song that preaches "love" as the cure-all is Semitically Correct liberalism because love smoothes distinctions. Are most problems solved by rigorous observation, reflection, discrimination, preparation and execution? Then "love" isn't the solution to problems, itz the cause of problems -- outside its sphere of personal relations within the family. Loving humanity or even "loving your race" are false conceptions, misapplications of the word.

In the video, McBride plays the cashier who, Jesus-like, covers the poower woman who just can't afford milk. "The city streets are going to burn if we don't do something soon," she croons. Yes, as you might read in any socialist publication, itz the standard leftist litany: we -- Whites -- are responsible for Pedro and Maria and the scheisskultur they excrete the way a vulture vomits sour meat. There is nowhere you can turn and not face this stuff. "The pain has to go somewhere," says Martina. The emotional woman feels the pain and is going to cure it with love. You no more cure Mexican with love than you cure a fire with love. Compassion out of its place is just as dangerous as fire. Women left to their own devices opt in that direction. They must be freed through the control of men. Their warming fire must be encircled by cold male stones or it endangers the world.

Now, imagine that somebody wrote a western song lamenting the destruction the Pedros have caused on our Southern border, destroying not just private property, and rendering large areas lawless, but destroying interesting deserts with their disgusting detritus. Imagine such a song written, and a video for CMT produced, and the video played on CMT. Such a thing is impossible in 2004 AmeriKwa. Why? For the same reason that political opposition to Mexican invasion is impossible: jews control the media, the money press, and, through these and their lobbies, Congress and the president. Things disintegrate and fiddling only is allowed in country music...and everywhere else. Whites live in a country they didn't produce, and which they aren't allowed to criticize, or discuss the Hebraic etiology thereof.
 
Old February 17th, 2004 #2
Alex Linder
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Rather, they're encouraged by the sexiest women with the best voices -- for judeo-media most certainly is rottenly perfect -- to sing along with the best melodies the hitmakers and their computers can provide, aud: "She's not just a pretty face," by the unimpeachably attractive and talented singer/songwriter/model Shania Twain:

Her soft-feminist words encourage young girls to be so much more than mothers, although, since we can't offend anybody, she can be a "mother of three" somewhere in the middle of being a surgeon, soldier, choreographer, etc. The video is live stadium shot, and we see the ultra camera-friendly Canadian soothing the throngs, and mingling with young girls in the front row, taking her words to heart.

She's not just a pretty face
She's got everything it takes
She part of the human race
No, she's not, she's not just a pretty face...

A reader writes to point out that country sales were down 10% in 2003. Naturally, the assholes are attributing the decline to a lack of "blockbuster" releases from "superstars" like McGraw and his highly fuckable wifey, he says. Are country music producers foregoing profits in favor of agitprop? Certainly. The popularity of singers cuch as David Allan Coe and Johnny Rebel and "Sweet Home Alabama" parallels the unreleased success of the nigger- and fag-bashing "One in a Million" by Guns 'n' Roses back in the nineties, which included the verse:

Police or niggers (that's right!)
Get out of my way.
Don't want to buy none of your
Gold chains today.
and
Immigrants and faggots
They make no sense to me
They come to our country
And think they'll do as they please
Like start some mini-Iran
Or spread some fucking disease
They talk so many goddamn ways
It's all Greek to me

The chorus -- You're one in a million -- is the same up-from-orcdom theme that thrills the white masses attending the Rings. We know, we all know, in our heart of hearts, that niggers and variant darklings don't belong among us, no matter what we say out of fear born of Lenin's Correctness. Music even hinting at the true light of White Nationalism is popular, and so must be marginalized as hate where the technical talent is weak, and misrepresented as aracial fantasy or fiction where it is symbolic and strong. There's not a man, woman, or child in the world who looks at Nicole Kidman and a nigger and doesn't see that the first is in some essential and uncoverable way better than the second. We all feel that - instinctively. And that is why Duke and the Semitically sensitive racists are wrong to pretend separatism differs from supremacism. I don't know if Whites are good, but I know that niggers are bad! Not calling them niggers is failed framing -- throwing the boolie out with the bathwater.

Think of it: How could whites not have an artistic response to submersion in orc sewage?

George Burdi was one of the first to recognize and force from this observation itz logical fruition, and no matter his subsequent forced half-hearted apostasy, myriad possibilities remain. By the way, Mr. Linder informs me 25 hand-crafted questions have been put to Mr. Burdi. We shall see how he answers.


Do-It-Yourself Media...

What is the way out? Producing our own material. Making our own music, recording it, buying it, selling it, listening to it, talking about it.
Others outside our movement are doing this, and they are getting good at it. Christian pop music is banished from mainstream radio because jews hate Christianity. Media jews don't care about profits they're missing, they make plenty of profits producing technically perfect, souless, salacious "songs," or collections of sounds. I like rock, not just country, as a result of early exposure to it, and driving, I flip the dial back and forth to find a better song. In recent years my ear has caught on, before I realized what it was, a Christian rock song here and there. They're good enough they approach and even surpass the jew-productions in lyric and rockability, although the South Park episode mocking Christian music by suggesting they simply substitute Savior love for sexual love makes its point. My point is the Christians are good now, getting better, and making money. They have succeeded in setting up an effective alternative media structure, just as William Pierce tried to do. We Whites can copy them.

One traditional Catholic recently discussed on VNN has gone a long way toward this as a sort of one-man band, literally and figuratively. E. Michael Jones's excellent Libido Dominandi has been discussed and posted on VNN, but besides his remarkable non-fiction works and his magazine and website, Jones produces his own music. As I write, my computer plays his "Watching MTV," a home-produced CD of 22 songs of original lyrics set to traditional American and Celtic tunes. Very good stuff. Jones is a middlin' lyricist, but he makes up for that by using traditional melodies and lots of instrumental stuff that anyone can enjoy, singing aside. As a singer Jones comes off just this side of the lead singer of the Violent Femmes. Imagine the "Blister in the Sun" guy wailing these lyrics to my favorite track, "The Domestic Partner Song":

Yeah, baby, won't you put me in your 401(k)4
Domestic partners can't be denied their rights no more
We had sex on the men's room floor
At the rest stop on route 294
So you can put me in your 401(k)4

Cruisin' men's rooms
Lets me make all kinds of friends
Now the judge tells me
I can be domestic partners with all of them
Ten a night is just about right
I see lots of benefits in store
If you put me in your 401(k)4

You'd have to have a heart of styrofoam not to get warm and fuzzy over such! Imagine the blanch of professional jade Kurt Loder confronted with same. "How real is that," Kurt?

Funny thing about Loder ilk: they tend to disappear, like vampires, when you hold a mirror to them.

The biter bit
Cannot handle it.

...as a Roman once said.

As I say, the CD has 22 tunes, most of them you've heard before. The CD cover is nice, with a formally dressed fifties couple watching an ancient console, with a very young child pointing at the MTV obscenity on the screen. "Watching MTV: Neoethnic Songs and Dances" features such timeless ditties as "The Ballad of Jessica Lynch," "Fighting Hate," ("There were deans wearing jeans/ There were people of means/ There were dykes from the gender studies program/ There were ladies with bags/ And homeless folks in rags/ All fighting hate in St. Joseph County"), and "The Neocon Song" ("Oh, my name is Irving Kristol/ And my son, his name is Bill/ In my youth I followed Trotsky/ But in truth, I follow him still/ But to say you are a Bolshevik/ Would fill the world with dread/ So please don't call me a commie/ Call me a neocon instead") This is good stuff. Liner notes say: E. Michael Jones: Guitar, Mandolin, Harmonica, Vocals. Anna Yurievna Jones: Accordion. Samuel E. Jones: Fiddle. Special thanks to David James and Bruce Bartlett. Perhaps Jones has a Russian bride? I speculate. The point remains that this guy is about as close to self-actualized as any unhealthy jewish pschiatrist could wish. He writes and publishes his own books and music. Whites should take an example from him, and help him buy subsidizing his work by buying his words. The White revolution must come out of men like Jones and MacDonald, Cantrell -- and you, reader of VNN. Until I see evidence otherwise, I will continue to believe that only race and racial ideas can unite and strengthen and sustain us through the coming fight. Regardless of our opinion of religion, we need strong and thoughtful Believers who grasp and report the problem fighting with us. Jones does name the jew. A reader in RM reported that he is working on a book version of a recent Culture Wars cover story posted on VNN on "The Revolutionary Jew." Which is a happy note on which to end this month's report.

More coming soon...

THE CRUX

P.S. Don't forget to do your VNN duty and buy a ticket to Hutton's boy's movie, opens February 25th.
 
Old February 17th, 2004 #3
Alex Linder
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Remeber that digital man they sliced up like ham and posted all the slices on the Internet, years ago? Buckley had an idea for an alternative form of biography. Rather than covering the whole life of the subject, scrutinize two weeks, say. In that vein, I would like to see a record of all country videos shown over a 24-hour period, with regard to 1) presence of jigs/non-whites; 2) feminist or other lib memes.
 
Old February 20th, 2004 #4
Antiochus Epiphanes
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Loved the album GnR lies. That song is a standout. There was an odd bittersweet sound about GnR-- their radio hitz too. Sweet Child O Mine, Welcome to the Jungle--

Axl Rose is from Lafayette Indiana. Hard to be from Southern Indiana and not share both an appreciation for small town American as it once was and a dislike for those who've ruined it.
 
Old March 2nd, 2004 #5
The Final Solution
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Quote:
Originally Posted by Alex Linder
unreleased success of the nigger- and fag-bashing "One in a Million" by Guns 'n' Roses back in the nineties, which included the verse:

Police or niggers (that's right!)
Get out of my way.
Don't want to buy none of your
Gold chains today.
and
Immigrants and faggots
They make no sense to me
They come to our country
And think they'll do as they please
Like start some mini-Iran
Or spread some fucking disease
They talk so many goddamn ways
It's all Greek to me

The chorus -- You're one in a million -- is the same up-from-orcdom theme that thrills the white masses attending the Rings. We know, we all know, in our heart of hearts, that niggers and variant darklings don't belong among us, no matter what we say out of fear born of Lenin's Correctness. Music even hinting at the true light of White Nationalism is popular, and so must be marginalized as hate where the technical talent is weak, and misrepresented as aracial fantasy or fiction where it is symbolic and strong.
Always fascinated by this:

SLASH's Official Fan Site



Quote:
SLASH was born in Hampstead (London), England on July 23, 1965, and he was raised in Stoke-On-Trent, Staffordshire, England. His given name is Saul Hudson. His mother is a Black American, and his father is a white Englishman. Both parents are artistic and work in the entertainment field. His mother is a clothing designer for entertainers. She designed some of David Bowie's unforgettable costumes. His father provides art direction for record albums. Two notable clients are Neil Young and Joni Mitchell.
 
Old March 7th, 2004 #6
Alex Linder
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Quote:
Originally Posted by Doppelhaken
Single: No
Video: No

Written by: "One In A Million" was written by Axl.
Written in: "One In A Million" was written in 1987.

Performed live: "One In A Million" was only performed live twice, because Axl didn't trust the audience, and he thought it could make them more agressive.

Additional info: Note from "G N' R Lies"-cover: "Ever been injustly hassled by someone with a gun and a badge? Maybe you've been conned or had someone attempt to sell you stolen property, and they just wont take no for an anser. Been to a gas station or convenience store and treatened like you don't belong here by an individual who can barely speak english? Hopefully not, but have you ever been attacked by a homosexual? Had some so-called religionist try to con you out of your hard-earned cash? Have you ever been banned or censored by a relatively small group of people claiming to be a majority with self-righteous and dangerous motives? This song is very simple and extremely generic or generelized, my apologies to those who may take offence."

______________________________________________
Axl: "I'd been down to the downtown L.A. Greyhound bus station. If you haven't been there, you can't say shit to me about what goes on and about my point of view. There are a large number of black men selling stolen jewelry, crack, heroin and pot, and most of the drugs are bogus. Rip-off artists selling parking spaces to parking lots that there's no charge for. Trying to misguide every kid that gets off the bus and doesn't quite know where he's at or where to go, trying to take the person for whatever they've got. That's how I hit town."

Axl: "The line about "faggots" was written after I heard a story from a sheriff about a man they had just arrested after just releasing from jail, and he had AIDS, and he was back out on Santa Monica Boulevard hooking."

Axl: "When I use the word immigrants, what I'm talking about is going to a 7-11 or Village pantries - a lot of people from countries like Iran, Pakistan, China, Japan et cetera, get jobs in these convenience stores and gas stations. Then they treat you as if you don't belong here. I've been chased out of a store with Slash by a six-foot-tall Iranian with a butcher knife because he didn't like the way we were dressed."
_____________________________________________

Now for the disclaimer:

Axl: "It definitely helped me to be able to change. I went out and got all kinds of video tapes and read books on racism. Books by Martin Luther King, and Malcolm X...The last verse has always been ignored. It has a line that says, "Radicals and racists, don't point your finger at me." Then it says, "I'm a small-town white boy." People have taken that like that's waving a flag that I'm pro-white or something. To say "small-town white boy" at the time that I put that in that song was something you didn't say...Look, yeah, I'm this naive, confused, small-town white boy, and I have a lot of problems, so racists, don't point your finger at me and go off and say I'm one of you, or whatever."
________________________________________________

Spoken like a true jew ass sucker, Axl! Best of luck on that long awaited comeback album.
Thanks for the info. I still think it's a great song. You can have all the footnotes in the world, but they're just backup singers. He knew exactly what he was doing when he wrote the words, and exactly what effect it would have on others. He may not be a racist, but he makes racist observations, so yes, at least that far, he is. Why wasn't the song released as a single? Because the jew shared the opinion that led him not to play the song live.
 
Old March 8th, 2004 #7
Antiochus Epiphanes
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he's from lafayette indiana. been there oncet or twice. small town White boys from Indiana are all racist if they're even half ways sensible. fucking niggers know that and so do small town White boys. His MLK bullshit sounds like something a small town White boy would say in high school government class to try and get a good grade to stay on the football team.

wasnt no nigras in lafayette to speak of last time I was there but I'll wager there's a mexinjun infestation like many other small towns with any kind of industrial jobs going on.
 
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