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Richard Wagner

Published on April 4, 2014 by in Blog

This month’s special program was transcoded from The Best of Wagner. It will be broadcast each Wednesday and Friday starting at 9PM ET, streaming continuously until the next scheduled program.

The Mastersingers of Nuremberg, I: "Overture"
The Mastersingers of Nuremberg, Act III: "Prelude" ( 10:44 )
The Mastersingers of Nuremberg, Act III: "Dance of the Apprentices" ( 16:37 )
Lohengrin, WWV 75, I: "Prelude" ( 19:00 )
Lohengrin, III: "Prelude" ( 27:57 )
The Valkyrie, WWV 86B, III: "The Ride of the Valkyries" ( 30:21 )
The Valkyrie, III: "Magic Fire Music" ( 36:20 )
Parsifal, WWV 111: "Overture" ( 39:52 )
Parsifal, III: "Good Friday Spell" ( 42:02 )
Rienzi, the Last of the Tribunes, WWV 49, I: "Overture" ( 46:00 )
Tannhäuser, WWV 70, I: "Overture" ( 51:17 )
The Flying Dutchman, WWV 63, I: "Overture" ( 1:06:22 )
Tristan and Isolde, WWV 90, I: "Prelude" ( 1:16:53 )

Quite imperceptibly the “Creditor of Kings” has become the King of Creeds, and we really cannot take this monarch’s pleading for emancipation as otherwise than uncommonly naïve, seeing that it is much rather we who are shifted into the necessity of fighting for emancipation from the Jews. According to the present constitution of this world, the Jew in truth is already more than emancipate: he rules, and will rule, so long as Money remains the power before which all our doings and our dealings lose their force.

– Richard Wagner, Judaism in Music, 1850

Total runtime: 1:27:38

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Enoch Powell – Rivers of Blood/The Great Betrayal

Published on March 5, 2014 by in Blog

This month’s special program is a reading of the momentous speech delivered by Enoch Powell at the Midland Hotel in Birmingham on 20 April 1968. It will be broadcast each Wednesday and Friday starting at 9PM ET, streaming continuously until the next scheduled program.

Though is has been described as “the most controversial speech in modern British history”, there is apparently no complete recording available on the internet. A BBC documentary (1, 2, 3, 4, 5, 6), produced circa 2008, starts with a reporter, Reg Harcourt, describing how he was there with a camera team. The BBC documentary intersperses snippets of the black and white film of the speech with “anti-racist” spin attempting to explain that Powell was wrong.

Powell’s speech serves as a reminder and lesson to Whites: However bad you may believe the situation is, or may yet become, you are likely underestimating. Looking back, we find many sober expressions of fear and foreboding such as Powell’s. Always they are countered with the same fraud and trickery. What our enemies initially deride and dismiss as a stupid, crazy, or evil vision invariably metastasizes into an even more disgustingly degenerate reality, which they then celebrate.

Our program was transcoded from “Rivers of Blood” The Great Betrayal. Full speech., read and posted by Martin Willett. The description attached to the video reads:

Published on Oct 14, 2011

The 1968 speech given by Enoch Powell known as The Rivers of Blood speech. In full. No editing, cuts, omissions, spin, commentary, propaganda or tricky sound effects. Just the speech.

These are words written in 1968, and not by me. Don’t shoot the messenger, just listen to the message and judge for yourself.

The FULL TEXT of this speech can be found here:


If you want to debate this matter in depth join my debate forum:


Total runtime: 20:09

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Dresden – Call of the Blood

Published on February 5, 2014 by in Blog

This month’s special program is the music of Dresden. It will be broadcast each Wednesday, Friday and Sunday starting at 9PM ET streaming continuously until the next scheduled program.

The Legacy of Dr. William Pierce: Call of the Blood album reviewed (1995) has links to high-quality audio downloads, lyrics, and this brief review:

Dresden is Joseph Pryce and Knut Pedersen.

All songs by Joseph Pryce except Horst Wessell Song paraphrased by Joseph Pryce.

Dresden’s new album, Call of the Blood, is a new kind of music for White people. Crafted with jewel-like care; with haunting, poetic lyrics; beautiful yet powerful arrangements and instrumentation; and soaring vocals; Call of the Blood combines the best elements of rock and traditional European music. Call of the Blood includes a lyric sheet to help you fully experience the impact of these new, masterfully written and produced songs. Call of the Blood will open a gateway in the minds of Aryan youth to a new and brighter future. – Kevin Alfred Strom

The Archives for Joseph Pryce at The Occidental Observer links three articles from 2010, including Jakob Friedrich Fries and the Intellectual Origins of Anti-Judaism in Europe. The author’s bio reads:

Joseph Pryce (email him) is a writer, poet and translator. He is the author of the collection of mystical poems Mansions of Irkalla. Mr. Pryce was born in Brooklyn and studied for the Roman Catholic priesthood for three years (Redemptory’s Order) and then attended Brooklyn College. He says for himself; “I was a musician for many years and recorded several CDs, but literature has always been my first love (especially poetry). I live with my wife, 30,000 books, and a dog and four cats on Long Island.” His translation of the German philosopher Ludwig Klages’ work will be published shortly by Arktos publishing company http://www.arktos.com/ [Ludwig Klages: The Biocentric Worldview].

Total runtime: 65:23

(Note: There is no audio download for this program – please tune in via the MP3 Stream.)

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Jack Pershing on Aryan Spirit and Virtue

Published on January 1, 2014 by in Blog

This month’s special program is a speech made by Jack Pershing in 1983. It will be broadcast each Wednesday and Friday starting at 9PM ET streaming continuously until the next scheduled program.

The Warrior and the Poet: J.E.B. Stuart and Ezra Pound at National Vanguard:

For the first time in written form, we present a profoundly inspirational speech by Jack Pershing, delivered 30 years ago this month at the General Convention of the National Alliance. (By clicking on the embedded player you can listen to the original recording.) This is one of my very favorite essays and speeches. — Kevin Alfred Strom

Pershing’s conclusion:

It’s going to be a long war. At times each of us will feel the clammy fingers of despair clutching at his throat and hear an insistent voice, clamoring, “Give up, it’s no use.” Help one another. When one weakens, another must be strong. In the midst of the wreckage of a dying civilization take your inspiration from your heritage and from each other. Nietzsche said that we should love war. I believe that — for only in struggle can we develop to our maximum potential.

Rejoice, then, for it has been given to us to be soldiers in the greatest war of them all. As Zarathustra said, “I do not exhort you to peace; I exhort you to victory. What good is long life, what warrior wants to be spared? I do not spare you; I love you from the very heart, my brothers in war.” Thank you.

Listen to JEB Stuart and Ezra Pound (via flawlesslogic.com).

Total run time: 43:39

It is not part of this special broadcast, but what called my attention to Pershing’s speech was Kevin Strom’s recent announcement at National Vanguard, American Dissident Voices: Renewal and Rebirth:

On this, the twenty-second anniversary of the first American Dissident Voices broadcast, a group of those who worked closely with William Pierce over many decades is gathering together to do something about it. Not only are we re-starting ADV, we are re-forming the National Alliance and building a headquarters and media center in a new redoubt in Dr. Pierce’s beloved Appalachian mountains.

The National Alliance’s long-time Membership Coordinator, former Green Beret Will Williams will manage the new Alliance; I will direct its media. Both we and others who will be assisting us behind the scenes worked directly with Dr. Pierce, some of us on a daily basis, for decades.

Listen to the broadcast (via nationalvanguard.org).

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20 Christmas and Winter Solstice Songs – 2013

Published on December 4, 2013 by in Blog

Once again the White Network wishes you and yours a very white Christmas and happy New Year. Between December 4th and the 27th we’ll be running a special program that we first ran last year. The following festive, seasonal music will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program. Enjoy.

1. Deck the Halls by James Taylor
2. Hark the Herald Angels Sing by Amy Grant
3. Celtic Winter Solstice by Arthur Fiedler & Boston Pops
4. Joy to the World by Anne Murray
5. Jingle Bells by Michael Buble
6. Winter Solstice Song by Lisa Thiel
7. Silent Night by Susan Boyle
8. Carol of the Bells (for 12 cellos) by ThePianoGuys
9. Deck the Halls and Wassail Song by unknown
10. O Come All Ye Faithful by Martina McBride
11. Ring Out Solstice Bells by Jethro Tull
12. O Holy Night by Charlotte Church
13. Twelve Days of Christmas with Ernie Ford
14. Yule Song by Katerina El Haj
15. Silent Night by Michael Buble
16. Hark the Herald Angels Sing by Charlotte Church
17. What Night Is This? By Katerina El Haj
18. Winter Solstice by The Tea Party
19. Deck the Halls by Bing Crosby
20. We Wish You A Merry Christmas by Enya

(Note: There is no audio download for this program – please tune in via the MP3 Stream.)

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Revilo Oliver – What We Owe Our Parasites

Published on November 1, 2013 by in Blog

This month’s special program comes from Speeches and Broadcasts by Professor Revilo P. Oliver and other selected speakers. It will be broadcast each Wednesday and Friday starting at 9PM ET and streaming until the next scheduled program.

What We Owe Our Parasites — Speech given to the Lorelei Club; 9th June, 1968, Hamburg, New York: Dr. Oliver’s brilliant exposition of the present plight of our race and what it is about us that has made us such easy dupes of our enemies. His best and most comprehensive short work and a necessary part of every patriot’s education. (Also available in text form.) 76 minutes, 22 kHz, 13294 kb. listen now or download.

See also:

Revilo P. Oliver at Metapedia.

The Revilo P. Oliver Collection at Stormfront.

Revilo P. Oliver › The life and works of a great American writer and thinker at www.revilo-oliver.com.

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Published on October 2, 2013 by in Blog

This month’s special program is a Skrewdriver mix. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

LOUD and PROUD. These are forthright, defiant, inspirational anthems extolling blood and soil nationalism and racialism for Europeans.

Skrewdriver, Metapedia:

Skrewdriver were a White Power band formed by Ian Stuart Donaldson in 1977 in Blackpool, United Kingdom.

The program was transcoded from 1 Hour Skrewdriver Mix at YouTube. The songs in the mix are (some of these are alternate versions):

The spirit of Skrewdriver is well captured by WHITE POWER (not included in the mix):

I stand watch my country, going down the drain
We are all at fault, we are all to blame
We're letting them takeover, we just let 'em come
Once we had an Empire, and now we've got a slum

White Power! For England
White Power! Today
White Power! For Britain
Before it gets too late

Well we've seen a lot of riots, we just sit and scoff
We've seen a lot of muggings, and the judges let 'em off

(Repeat Chorus)

Well we've gotta do something, to try and stop the rot
And the traitors that have used us, they should all be shot

(Repeat Chorus)

Middle Eight:
Are we gonna sit and let them come?
Have they got the White man on the run?
Multi-racial society is a mess
We ain't gonna take much more of this
What do we need?

(Repeat Chorus)

Well if we don't win our battle, and all does not go well
It's apocalypse for Britain, and we'll see you all in hell

(Repeat Chorus) x2

Saga’s Son of Britain (not included in the mix) is an ode to Ian Stuart Donaldson:

From the once so Great Britain, a warrior came to us
He brought us Blood & Honour, The man that we all trust
Ian Stuart has now fallen, but his music still lives on
So it will continue, when all the filth has gone

Our ranks are filled with comrades,
marching down the street
We are hunting down the enemy,
let's force them to retreat!

Ian Stuart is still marching, walking by our side
His music is still clear and loud, his spirit full of pride!
Ian Stuart's weapon, was his battle songs
His music filled my backbone, and there it still belongs
A messenger of justice, a man who made us see,
Eternal laws of nature, in the songs for you and me
When the new empire rises, we won't forget the man,
Who took a stand for Europe, when everybody ran 
Fulfilment of his mission, is now our destiny
To purify our nations, and to set our people free

See also Blood and Honour and Blood and Honour Radio Archive.

Total run time: 1:00:14

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William Pierce

Published on September 1, 2013 by in Blog

This month’s special program is a selection of recordings of Dr. William Luther Pierce. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

From the William Luther Pierce page at Metapedia:

Dr William Luther Pierce III (September 11, 1933 – July 23, 2002) was the leader of the White survival organization the National Alliance and a principal ideologue of the white nationalist movement. First educated as a physicist, he later worked with George Lincoln Rockwell, the founder of the American Nazi Party. Pierce became well known as the author of a novel, The Turner Diaries (1978), written under the pseudonym Andrew Macdonald. He founded the religion of Cosmotheism, an admixture of panentheism, and promoted White nationalism, and White survival world-views.

These recordings are a small sample taken from the Dr. William Pierce Audio Archive at Internet Archive, which has over 300 audio files available for download.

For more information see also The Legacy of Dr. William Pierce.

Pierce-19770313 – Human Dignity – A Racial Ethic, 17:32

Pierce-19960420 – Men of Valor, 23:12

Pierce-19970301 – The Jewish Problem, 21:47

Pierce-19970802 – The Psychology of Political Correctness, 23:35

Pierce-19980711 – Thinking about a White Future, 22:38

Pierce-20020413 – Tiptoeing around Our Problems, 23:22

Total run time: 2:12:06

(Note: There is no audio download for this program – please tune in via the MP3 Stream.)

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Voices of Music

Published on August 2, 2013 by in Blog

This month’s special program is based on performances that Voices of Music, the Early Music ensemble, has made available on YouTube. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

From the Voices of Music home page:

Voices of Music performs both renaissance and baroque music, drawing upon the many and varied sources for historical performance practice. Based in San Francisco, our venue in St. Mark’s Lutheran provides one of the finest concert experiences in the Bay Area. Performances are one on a part, with an emphasis on combining both instrumental and vocal styles of interpretation and ornamentation. Our ensemble is the first Early Music Ensemble in America to broadcast highlights from our performances in High Definition Video.

In most cases the visuals make these selections worth watching as well as listening to. During transcoding I took the liberty of trimming off most of the applause and silence. The notes below are excerpts of the YouTube descriptions for each video.

Pachelbel Canon in D Original Instruments (4:14)

About the performance: the canon is played using not only the instruments but also the bowing techniques from the time of Pachelbel. As you can see from the video, especially if you look at the high definition version, the string instruments are not only baroque, but they are in baroque setup: this means that the strings, fingerboard, bridge and other parts of the violin appear just as they did in Pachelbel’s time. No metal hardware such as chinrests, clamps or fine tuners are used on the violins, allowing the violins to vibrate freely. A good example of baroque bowing can be seen in the extended passage of repeated notes: the musicians play these notes on one bow—the shorter & lighter baroque bow—to created a gliding effect. The players also hold the bow very differently which affects the balance and touch. Both the style and the amount of vibrato are based on baroque treatises which describe the methods for playing, bowing & articulation in the late 17th century. The narrow, shimmering vibrato blends with the baroque organ. The organ used is made entirely of wood, based on German baroque instruments, and the pipes are voiced to provide a smooth accompaniment to the strings, instead of a more soloistic sound. The large bass lute, or theorbo, provides a complement to the organ not only in the texture of the chords but also the long strings which occasionally sound the bass notes an octave lower. The continuo players play supporting chords and voices to the canon, carefully avoiding parallels and doublings of the parts.

Another feature of the video is the subtle differences in not only the sound and color of the instruments, but also the different techniques of the players. All three are playing baroque violins with baroque bows, yet each person has her own distinct sound and bowing style—each bow has a different shape and balance. If you look at paintings of 17th century players you will see that they are all different, because that individuality of sound and technique was highly valued. This allows the players and the listeners to hear and appreciate the “Voices of Music.”

More about Pachelbel’s Canon at Wikipedia.

J.S. Bach: Air on the G String (5:08)

Bach under the Stars.

More about Air on the G String at Wikipedia.

J.S. Bach: Jauchzet Gott in allen Landen BWV 51 (4:26)

Bach’s cantata is Italian in nature and makes extensive use of ritornello form within the larger framework of the Da Capo Aria. The original manuscripts are unusual in that they have “doublets” or extra parts for the strings, along with minimal solo and tutti markings.

Jauchzet Gott is the only cantata by Bach for both solo trumpet and solo soprano, and the highly virtuosic solo parts are demanding even by Bach’s standards. The soprano part covers two octaves and extends to high C. It is not known for whom the solo parts were composed; presumably the trumpet part was penned for the brilliant trumpeter Gottfried Reiche, and it is tempting to assume, as previous scholars have noted, that the solo soprano part was written for a visiting singer, as there was no known local singer at that time with a similar repertory. The first noted performance of the cantata was on the 15th Sunday after Trinity, on 17 September 1730; the ms. is also marked “et in ogni tempo”, meaning that it could be performed at any time during the year. Although some scholars have drawn comparisons to music composed for the court at Weißenfels, the style and the scoring of the work seem most closely related to Italian composers such as Alessandro Scarlatti who composed many works for virtuoso singers and trumpet players . There is also the slim chance that Nicola Porpora, who had connections in Germany and visited in 1724, just prior to the date of BWV 51, or Caldara may have presented similar works. Nonetheless, at its core, the cantata is fashioned with Bach’s signature contrapuntal style.

J.S. Bach: Concerto for Two Violins in D Minor, Largo BWV 1043 (5:48)

The entrancing slow movement from the Concerto for Two Violins in D Minor by J.S. Bach (BWV 1043), accompanied by a montage of HD images from the ESA.

Bach: Toccata and Fugue in D Minor for organ BWV 565 (9:45)

Bach’s signature work for organ solo, performed on a Flentrop organ by Rodney Gehrke, as part of the Voices of Music “Great Works” series. One of the most brilliant and creative compositions ever written for the organ, the Toccata and Fugue are characterized by a grand, cathedral-like architecture. Pedal points provide the foundation, strettos engrave recurring design motifs on the architraves that join immense columns of sound, quirky modulations form spandrels at the ends of phrases, blue notes spout from the gargoyles guarding the rails of free-form episodes–episodes that form a fan-vault over the chords; subject and counter-subject weave rood-screens between the main formal sections, the fugue rules square the structure in balanced harmony, and striking modal colors provide illumination through the clerestory windows of Bach’s imagination.

The work is unique in many respects, and these unique qualities–for example, the solo statement of the fugue subject in the pedals at 6:50 is unprecedented in any work of the baroque–have led some musicologists (not us) to speculate that the work may not be by Bach, or that it is an arrangement drawn from a work for another instrument. But what instrument besides the organ could build a cathedral of sound?

Dandrieu: La musète et double de la musète (2:55)

The musète (musette) from the Suite in C from Book I of the French organist and composer Jean-François Dandrieu (Paris, 1705).

Lully: Chaconne from Phaeton, with baroque dance (4:22)

The Chaconne from the Opera Phaeton by Jean-Baptiste Lully (LWV 61, 1683)

Antonio Vivaldi: La Follia, with baroque dance (9:40)

In 1705, eager to make his mark as a composer of both opera and instrumental music, the young Vivaldi published his first set of twelve trio sonatas as Opus 1. The last sonata, which is a highly virtuosic set of variations on the “La Follia” dance pattern (titled only “Follia” in the print), is one of his most famous works; Vivaldi takes Corelli’s variations on the same theme-and-bass pattern from Corelli’s Opus 5 (1700), which was already a famous work, and adds figuration of even greater complexity.

Antonio Vivaldi: In turbato mare RV 627 (16:19)

Antonio Vivaldi is known primarily as a composer of concertos, but in his own time he was an opera impresario, hastily dashing off concertos for cash (sometimes in coach trips from one production to another) to fund his lavish productions. For special occasions, or special patrons–such as the orchestra in Dresden–Vivaldi brought the full force of his compositional abilities to the table, and crafted masterpieces of counterpoint, in stark contrast to many of his hastily composed works. Vivaldi’s sacred works are nearly as compelling as his best concertos, and the motet “In turbato mare irato” combines typical operatic melismas, recitatives and Da Capo arias, as well as a challenging vocal range of two octaves. Composers of the baroque period (especially Handel) often used a number of compositional tricks to speed the process of churning out music, such as recycling large pieces of thematic material, or piling all of the instruments onto one part to avoid the complexity of full counterpoint. In turbato, in contrast, is composed with a four-part harmony throughout. The fully-allegorical text can be read as an odyssey towards spiritual or intellectual light, but the verses are suffused with secular sensuality, paralleling the Italian art and religious architecture of the same period.

The original score contains a brief recit with continuo, we have turned this into an accompagnato piece in which the strings play the harmonies.

Heinrich Biber: Sonata IV in C Major for Trumpet and Strings (4:53)

Although Biber gives the title “Sonata” for the works in this collection, “Sonatae tam aris quam aulis servientes” (Salzburg, 1676), stylistically, this work is in many respects one of the earliest trumpet concertos. Virtuoso parts are provided for the trumpet and first violin, and the rich accompaniment results from the blend of the two violas and the continuo group.

Pergolesi: Stabat Mater (39:03)

In his short life, Giovanni Pergolesi composed a wide variety of music in the major genres of the time. His primary compositions were also operas, especially the new Opera Buffa (comic opera). His highly influential mini-opera, La Serva Padrona (1733) was the subject of a fierce debate in France over the future of opera, and was one of the most popular operas of the mid-18th century. The Stabat Mater, written in 1736, may have been composed for members of the secular nobility, the Cavalieri della Vergine dei Dolori, that met in Naples and commissioned a setting of the Stabat Mater every year. A few years earlier, Alessandro Scarlatti set the same text for members of the same group. Pergolesi’s Stabat Mater was an immediate hit, and was copied, imitated, arranged and reprinted many times throughout Europe. When it was engraved in London in 1749, it quickly became the most frequently printed musical work in the 18th century.

Henry Purcell: Pavan in B Flat (4:04)

Henry Purcell’s sumptuous Pavan in B Flat

Johann Kapsberger: Toccata Arpeggiata (5:25)

The Toccata Arpeggiata from Johann Kapsberger’s Book I (Venice, 1604). Performed on the theorbo by David Tayler. Live video from the SF based Early Music Ensemble Voices of Music, from the Great Artists Series 2012.

Musicological Notes:

My reconstruction of the style of playing the lute in the first decade of the 17th century is based on a study of the many different musical genres from the time, including the keyboard and lute toccatas, the violin sonatas and the wide variety of vocal music, including the Littera Amorosa. Early keyboard and lute music reveals a dizzying array of arpeggiation patterns, with very few written-out works that use a relentless or uniform approach. Another feature of this early 17th century style is that the music almost always has contrasting sections, and this feature is present in both vocal and instrumental works. Chord patterns, arpeggios and melodic fragments are combined to form these sections, as well as provide small ritornellos. Echo, piano and forte effects, which were just starting to be used (Monteverdi, 1607) are added with gradations, within the small but present dynamic range of the lute.

Literary influences for my interpretation center around the poetical forms in vogue 1600-1610, including the sonnet and especially the freer and rhythmically complex form of Gabriello Chiabrera: rhymes, lines, line breaks, chiasmus and caesuras are woven into the musical fabric.

Lastly, my approach tries to recreate a more improvisatorial style that provides a kind of musical antecedent to the unmeasured preludes of Louis Couperin, Jacquet de la Guerre and Chambonnieres, as I imagine that such a style must have existed in order for later composers to imitate it. There are many ways to interpret Kapsberger, and I hope to see many more versions by my colleagues.

Total run time: 1:56:02

(Note: There is no audio download for this program – please tune in via the MP3 Stream.)

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Oswald Mosley

Published on July 3, 2013 by in Blog

This month’s special program comprises three audio tracks of Oswald Mosley. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

Oswald Mosley, via Metapedia:

Sir Oswald Ernald Mosley, 6th Baronet (November 16, 1896 – December 3, 1980) was a British politician and founder of several nationalist organizations, the most notable being British Union of Fascists and Union Movement. Educated at Winchester and Sandhurst he fought with the 16th Lancers on the Western Front during the First World War. He later transferred to the Royal Flying Corps but was invalided out of the war after a plane crash in 1916.

The first selection is Mosley Set to Music, via National-Socialist Worldview:

Sir Oswald Mosley (1896 -1980) was the leader of the British Union of Fascists, and a friend of National-Socialist Germany. (He was also an hereditary baronet and fourth cousin of the mother of Queen Elizabeth II.)

The Westminster Gazette in the 1920s called Mosley “the most polished literary speaker in the Commons, words flow from him in graceful epigrammatic phrases that have a sting in them for the government and the conservatives. To listen to him is an education in the English language, also in the art of delicate but deadly repartee. He has human sympathies, courage and brains.”

The original message was recorded by Mosley (without musical backing) in 1938. The original text appears below. Notably omitted from the musical adaptation is Mosley’s reference to the national-socialist and also every specific reference to Britain.

In this brief speech Mosley advocates a revolutionary spirit and calls for revolution by Britons.

The audio itself is blood axis – sarabande oratoria, on YouTube. The length is 4:05, including music.

The second selection is Oswald Mosley Speaks for European Unity, from YouTube. The length is 10:08. The audio is of relatively poor quality, including a few lengthy drop outs. The uploader’s description:

Oswald Mosley Leader of Union Movement speaks for EUROPE A NATION in 1951.

At the start Mosley identifies his opponents:

I speak for Union Movement. We stand for a change in this country. For that reason we are either abused or boycotted by those who want to keep things as they are. The financiers, the vested interests and the old parties who serve them hate our movement and use their money power to destroy us. They control directly or indirectly the press, the cinema and the radio. That is why you hear nothing of union movement except silly abuse which has no relation to truth.

The third selection is Oswald Mosley – Make Europe A Nation 1964, from YouTube. The length is 44:29. The uploader’s description:

Oswald Mosley gives a firey speech in 1964 about his vision for a united Europe. This speech was given some 18 months after the Venice Conference and his meeting with the heads of numerous European political parties which called for the formation of a National Party of Europe.

According to Metapedia, the National Party of Europe was created by the Declaration of Venice, an initiative undertaken by a number of political parties in Europe during the 1960s to help increase cross-border co-operation and work towards European unity. The idea of an NPE began when Oswald Mosley launched his Europe a Nation campaign after World War II.

More information about Mosley is available from oswaldmosley.com. Most notable is the special emphasis placed on Mosley’s attitudes regarding jews. Near the top of the list of Top 10 Lies about Oswald Mosley:

2. Oswald Mosley and his supporters were anti-Semitic.

Oswald Mosley never criticised anybody for what they were born. But he didn’t believe that Jews were the only people in the world immune from criticism. Oswald Mosley criticised some Jews for what they did, not all Jews for what they were. That’s why Jews like John Beckett (British Union Director of Publications), Bill Leaper (Editor of the Blackshirt) and Harold Soref (later Tory M.P. for Ormskirk), and the Jewish boxer Kid Lewis had no problem supporting him.

This item links to an article titled Antisemitism – British Union and the Jews. It is without attribution and not dated, but presumably represents Mosley’s position at some time after World War II. It begins:

More drivel is talked about the Jews than most subjects; both ways. The views that all Jews are born wicked, or that all Jews should be the sacred objects of the system, seems to me equal nonsense. I am neither an anti-Semite, nor a sycophant of Semites. The attitude of our movement has been both consistent and intelligible throughout. We have never attacked any man on account of race or religion, and we never shall. But we attack any man, whatever his race or religion, who acts against the interests of Britain or Europe; particularly Britons who ought to know better than to serve alien interests. It is a straightforward attitude, which has been formed by clear principles.

Why then have we been involved in clashes with Jewish interests, and why are so many Jews violently against us? The answers again are clear. Before the war I believed that certain great Jewish interests were trying to involve us in war, not in a British, but in a Jewish quarrel: I still believe it. The reasons for our belief and for the Jewish action are equally intelligible. It is true that a considerable number of Jews were having a bad time in Germany, and it can also be argued that if a similar number of Englishmen had been having an equally bad time in Germany, there would have been a demand among many Englishmen for war against Germany. But it is beyond question from the evidence of the period, that powerful Jewish interests were trying to produce war between Britain and Germany. They made it their business to start a war in the Jewish interest. I, and my friends, made it our business to stop that war, in British interest. That led to a head-on clash, and I still think that we were right in doing our utmost to prevent that war.

The issues between us, and those Jews before the war, were therefore quite simple and clear. They wanted to make a war, and we wanted to stop it. That is the long and the short of the whole matter. There was no question of racial persecution on our part. That was entirely contrary to our principles, which I put on public record at the time. We British were running a great Empire composed of many different races, and any suggestion of racial persecution would have broken it up. For practical, as well as moral reasons, it would have been the gravest error for us to pursue a policy of any kind of racial persecution. The Germans had entirely different national problems, as well as in some respects, a different national character, which was derived from a diversity of historic experience.

Our duty then, was to hold together and develop a multi-racial Empire.

This is doublethink. Mosley presented (and perhaps imagined) himself as neutral regarding jews, yet in the very act of doing so demonstrated a special regard for them and recognition of their special antagonism for himself and his movement.

Another example of Mosley’s attitudes about jews is captured in the article William Buckley Interview, which took place four years after Mosley published his autobiography, My Life. The text of the interview is also available (in Microsoft Reader eBook format) via archive.org, which describes it as a transcript of the Firing Line television program broadcast on 9th April 1972.

Buckley’s very first concern is to explore how Mosley’s fascism relates to the jews.

MR. BUCKLEY: . . . I was instantly struck by the especially laudatory notices given to [the book] in England by members of the left; for instance, Mr. Michael Foot, who called the book, “a dazzling gleam across the whole century. What Mosley so valiantly stood for could have saved this country from the hungry Thirties and from the Second World War”; and from R. H. Crossman, intellectual leader of the Socialist party (laughter), or so he is regarded, “Mosley was spurned simply and solely because he was right.” I think it would be instructive to explore the current and historical meaning of fascism, something we have yet to do on this program, and I want to begin with the understanding that we shall not devote anything like the entire program to it. By touching on racism and fascism, specifically on anti-Semitism and British fascism, I’d like to ask Sir Oswald: do you believe there is a nexus between the two ? anti-Semitism and fascism?

SIR OSWALD: No, none whatever. That was a purely German phenomenon and that really made the whole complication. Germany, of course, under Hitler, was definitely anti-Semitic. There’s no doubt about that whatever — none whatever. That’s all –

MR. BUCKLEY: You’re not going to dispute that?

SIR OSWALD: – too painfully clear. But in the other countries where fascism occurred, in very different national forms, there was no question of it in the origin of the movement. Fascism was, essentially, a national creed — both its strength and its weakness – and, therefore, it took, in every country, a completely different form. And if you are running, as we hope to run, a multi-racial empire, you obviously cannot have a racialist policy. And the quarrel with certain Jewish interests, not with all, by any means, arose on quite different and much later questions.

As with Mosley’s article regarding “anti-semitism”, the substantial, very earnest expressions of deference to or concern for the best interests of jews collectively, as jews, contradicts the very idea that the jews can or should be treated as individuals.

This portion of the exchange is particularly cringe-worthy:

MR. BUCKLEY: Well, now, is it your point that a national minority, whether religious or racial, does not have the right to attempt to mobilize national energy to come to the rescue of a persecuted people in other parts of the world?

SIR OSWALD: I think he’s absolutely, perfectly right in stating his opinion. Anybody should be allowed to state his opinion, but the answer must be allowed to be put. And my answer was that I was against a war with Germany, and I think most of the English were at that time. I quite understood why they were agitating in favour of a war, but the interest of the majority was against it and, therefore, I pointed out that certain Jewish interests were trying to produce a war, which was against the interests of Great Britain.

MR. BUCKLEY: Well, why would you say that it was their Jewishness that was a factor? Why wouldn’t it simply be their humanitarianism? Why shouldn’t a Jew say, “We have reason to believe that this madman in Germany is not only going to threaten the peace in Europe, but is also going to engage in large-scale genocidal ventures which have already been adumbrated, and it is the responsibility of a free and humanitarian people to do what they can to stop him”? Does this become Jewish sectarianism?

SIR OSWALD: No, you’re perfectly right.

Buckley argues that jews are motivated to fight by their jewishness but also that it is the responsibility of “free and humanitarian people” to fight for them too.

The oxymoronic term “national minority” is indicative of this doublethink. In the context of nations and nationalism it is especially obvious that jews think of themselves as jews first and foremost, that jews are naturally distinct from every other nation and, because they are self-obsessed and parasitically bent on infiltration and manipulation of others, are ultimately hostile to everyone else’s nationalism. From their own behavior it is clear that every member of the political elite understands this, more or less. Some, like Mosley, believe they can ignore or finesse this inconvenient fact. Others, like Buckley, explicitly embrace and defend and excuse jews for their hostility.

That non-jews behave so obsequiously with regard to jews – either minimizing their part or joining with them – is an indirect but telling measure of jewish power.

Mosley’s autobiography is available as a PDF via nazi.org.uk. Kerry Bolton reviews Sir Oswald Mosley’s My Life at Counter-Currents Publishing.

(Note: There is no audio download for this program – please tune in via the MP3 Stream.)

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