the White network - Tag Archive for "special program"

Flatt and Scruggs

Published on June 3, 2013 by Tanstaafl in Blog

This month’s special program is a hand-picked selection of classic bluegrass songs performed by Lester Flatt and Earl Scruggs. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

General Biography:

Probably the most famous bluegrass band of all time was Flatt and Scruggs and the Foggy Mountain Boys. They made the genre famous in ways that not even Bill Monroe, who pretty much invented the sound, ever could. Because of a guitar player and vocalist from Tennessee named Lester Flatt and an extraordinary banjo player from North Carolina named Earl Scruggs, bluegrass music has become popular the world over and has entered the mainstream in the world of music.

Like so many other bluegrass legends, Flatt and Scruggs were graduates of Bill Monroe’s Blue Grass Boys. Because of the unique sound they added (“overdrive,” one critic called it), Monroe felt let down after Flatt’s quality vocals and Scruggs’s banjo leads left in 1948. Quickly the two assembled a band that in the opinion of many was among the best ever, with Chubby Wise on fiddle and Cedric Rainwater on bass; a later band, with Paul Warren on fiddle and Josh Graves on dobro, was equally superb. With so many extraordinary musicians and the solid, controlled vocals of Flatt, it’s no wonder the Foggy Mountain Boys was the band that brought bluegrass to international prominence. From 1948 until 1969, when Flatt and Scruggs split up to pursue different musical directions, they were the bluegrass band, due to their Martha White Flour segment at the Opry and, especially, their tremendous exposure from TV and movies.

More about the Foggy Mountain Boys.

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

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David Lane Interview with Meredith Vieira (1995)

Published on May 1, 2013 by Tanstaafl in Blog

This month’s special program comes from Black Sun Invictus. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

This program is doubly special to us at tWn. This month we mark the first anniversary of our operation, inspired and guided from the beginning by the spirit of David Lane’s Fourteen Words.

Our mp3 audio file was transcoded and assembled from the following YouTube videos:

John Hardon writes:

David Lane stated his views can be best summarised by the 14 words, a term he coined: “We must secure the existence of our people and a future for White children.” He held that view “because the beauty of the White Aryan woman must not perish from the earth.”

Lane believed white people needed their own ethnostate to survive and stated,

“Today, in the year 2005, approximately two percent of earth’s population is White female of child bearing age or younger… The remaining whites are hopelessly integrated, terrorised,brain washed, miscegenated and are rapidly being overrun by six billion coloureds.”

A founding member of The Order, he died while serving a 190-year prison sentence in the Federal Correctional Complex in Terre Haute, Indiana.

In this interview Lane shares his thoughts on the Fourteen Words, the US government, genocide, treason, the jews, Bob Mathews, The Order/Brüder Schweigen, Aryan Nations and more.

The following is the transcript of the entire interview, as transcribed by Stormfront member Northern Bastion from one of the original VHS Cassettes. [PDF, via Solar General]

About one hour into the interview Vieira attempts to have Lane read aloud the Oath Of Der Bruder Schweigen. The sentiments are similar to what Bob Mathews expressed in his Call To Aryan Warriors (part of Internet Archive’s Dr. William Pierce Audio Archive), which includes an introduction and context provided by William Pierce. At any rate Mathews’ presentation to the National Alliance serves as a useful supplement to Lane’s discussion with Vieira.

Note: Two anomalies in Part 3 have been repaired. The section from 0:00 to 4:37 was relocated to in its proper place at 9:42. The section from 4:37 to 5:07 was removed because it is a duplicate of 9:22 to 10:02 in Part 2.

The audio quality is relatively poor but we hope you will agree that it is well worth the effort to make out what Lane has to say. Length: 81 minutes.

Podcast: Play in new window | Download

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The Best of Chopin

Published on April 3, 2013 by Tanstaafl in Blog

This month’s special program comes from The Best of Chopin on YouTube. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

Frédéric Chopin, Wikipedia:

Frédéric François Chopin (pron.: /ˈʃoʊpæn/; French pronunciation: <200b>[fʁe.de.ʁik ʃɔ.pɛ̃]) or Fryderyk Franciszek Chopin[1] (1 March or 22 February 1810[2] – 17 October 1849) was a Polish composer and virtuoso pianist. He is widely considered one of the greatest Romantic composers.[3] Chopin was born in Żelazowa Wola, a village in the Duchy of Warsaw. A renowned child-prodigy pianist and composer, he grew up in Warsaw and completed his music education there; he composed many of his mature works in Warsaw before leaving Poland in 1830 at age 20, shortly before the November 1830 Uprising.

Following the Russian suppression of the Uprising, he settled in Paris as part of Poland’s Great Emigration. During the remaining 19 years of his life, Chopin gave only some 30 public performances, preferring the more intimate atmosphere of the salon; he supported himself by selling his compositions and teaching piano. After some romantic dalliances with Polish women, including an abortive engagement, from 1837 to 1847 he carried on a relationship with the French writer Amantine Dupin, aka George Sand. For most of his life Chopin suffered from poor health; he died in Paris in 1849 at age 39.

The vast majority of Chopin’s works are for solo piano, though he also wrote two piano concertos, a few chamber pieces and some songs to Polish lyrics. His piano works are often technically demanding, with an emphasis on nuance and expressive depth. Chopin invented the instrumental ballade and made major innovations to the piano sonata, mazurka, waltz, nocturne, polonaise, étude, impromptu, scherzo and prélude.

Length 1:54.

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

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The Lost Recordings George Lincoln Rockwell Texas 1965

Published on March 1, 2013 by Tanstaafl in Blog

This month’s special program comes from The Lost Recordings George Lincoln Rockwell Texas 1965. It will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program.

Ladies and gentlemen, the following is a talk by the late commander of the American Nazi Party, Mr. George Lincoln Rockwell. The occasion was in Dallas, Texas, in 1965, where approximately 75 prominent Dallas citizens accepted a personal invitation to gather at a private home to see and hear Mr. Rockwell.

Rockwell delivers a sober, plain-spoken overview of the racial and political situation in the United States circa 1965, and offers his grim analysis of why Whites had been losing to the jews for so long.

The only way, folks, that we can win, the only way we can stop the extermination of the White race, the White Christian people that built this country, on behalf of the jews and the niggers, there’s only one way you can do it. You have got to win your people back.

The audio quality is garbled in the first minute or so, but clears up after that. Length: 107 minutes.

Podcast: Play in new window | Download

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Daemonia Nymphe

Published on February 1, 2013 by Tanstaafl in Blog

This month’s special program features the music of Daemonia Nymphe, and will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program. Enjoy.

From Daemonia Nymphe at Wikipedia:

Daemonia Nymphe (Δαιμόνια Νύμφη) is a Greek music band established in 1994 by Spyros Giasafaki and Evi Stergiou. The band’s music is modeled after Ancient Greek music and is often categorized as ethereal, neoclassical,[1] neofolk, or gothic.[2]

Daemonia Nymphe uses authentic instruments, including lyra, varvitos, krotala, pandoura and double flute, which are made by the Greek master Nicholas Brass.[3] Their shows are very theatrical, with members wearing masks and ancient dress. Their lyrics are drawn from Orphic and Homeric hymns and Sappho’s poems for Zeus and Hekate.

The music has been transcoded from Top Tracks for Daemonia Nymphe at YouTube:

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

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The Eagle Soundtrack

Published on January 4, 2013 by Tanstaafl in Blog

We hope you enjoyed last month’s special program, 20 Christmas and Winter Solstice Songs. This month’s special program features music from The Eagle, and will be broadcast each Wednesday, Friday, and Sunday starting at 9PM ET and streaming until the next scheduled program. Enjoy.

The Eagle (Soundtrack) by Atli Övarsson:

Has The Eagle Landed?
Review by Richard Buxton

As an adaptation of ROSEMARY SUTCLIFFE’S novel THE EAGLE OF THE NINTH, director KEVIN MACDONALD brings the tale of a Roman soldier and his quest to retrieve the lost emblem of his father’s lost legion. The setting alone conjures vivid memories of the genre’s golden age and the numerous classic scores it has produced. Such history would suggest that films depicting the era of the Roman Empire provide a wealth of golden material and inspiration from which composers can feed. In terms of the blossoming career of ATLI ÖRVARSSON, this trend holds true. Having scored a number of worldwide releases, ÖRVARSSON’S work on THE EAGLE marks what is arguably his strongest effort in film scoring thus far.

The score introduces itself with the brooding “Testudo” (1), a heavily percussive piece strongly reminiscent of the more action-oriented compositions heard in GLADIATOR. A strong but ultimately predictable opening sets up the similarly evocative “Highlands” (2). The string harmonies dominated opening is swiftly replaced by the moody and atmospheric vocals that again bring ZIMMER’S score to mind. It is in this track however, that ÖRVARSSON’S provides the slightest reveal of the scores unique selling point. Slight hints of a Celtic influence appear throughout the opening moments of the track and these are fully reinforced in the following track, “The Return of the Eagle” (3). The influences can be heard instantly, providing an energetic and refreshing rhythm as the various instruments, including bagpipes come to the fore. The string and bagpipe motif alone might give some listeners the urge to take up dance lessons, but the swift emergence of the string section accompaniment enhances the cinematic flavour with it’s rising pattern, giving the track a pleasant and uplifting nature and cementing itself as one of the highlights of the score.

The first instance of what presents itself as a theme can be heard in “The Ninth Legion” (4), an ominous piece accented by a male choir that rises into a sweeping string theme. The theme reappears occasionally throughout the score in the tracks “I Will Return” (12) and “Beyond The Territories” (18), with both providing their own unique take on the theme, the former in the aforementioned Celtic demeanour. It is in these tracks that THE EAGLE finds its identity, rather than the less subtle and more dramatic action pieces. “May Your Souls Takes Flight” embodies this spirit as the bagpipes signal a rousing, string-propelled finale.

When ÖRVARSSON does venture into the action sequences of the film, the music does take a step down into the predictable. The music is suitably invigorating, but offers little more than has been heard countless times in similar films over the years. Tracks such as “North of the Wall” (5) emphasize this in their predictably percussive roots. The Celtic elements do provide reason for listeners to give the tracks more attention than they otherwise might however. The climactic moments of “Fleeing The Village” (15) are of a pleasingly fresh disposition and provide incentive for repeat listens.

Outside the previously mentioned tracks, THE EAGLE provides extensive underscore in the likes of “The Seal People” (9), “Searching” (10) and “Eagle Lost, Honour Lost” (14), all of which are fittingly atmospheric but are unlikely to be the catalyst for audiences to return to the score on multiple occasions.

The Eagle Soundtrack HD (transcoded from YouTube)

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

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20 Christmas and Winter Solstice Songs

Published on December 12, 2012 by Tanstaafl in Blog

The White Network wishes you and yours a very white Christmas and happy New Year. Between December 12th and the 30th we’ll be running a special program consisting of festive, seasonal music 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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Page 2 of 212

Flatt and Scruggs

David Lane Interview with Meredith Vieira (1995)

The Best of Chopin

The Lost Recordings George Lincoln Rockwell Texas 1965

Daemonia Nymphe

The Eagle Soundtrack

20 Christmas and Winter Solstice Songs

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