Oh, damn, boy.

They got racism in Japan now?

BBC:

A Japanese rock band has pulled the music video for its new song “Columbus” after drawing flak for scenes that depicted Christopher Columbus with ape-like men.

The video shows three historical figures teaching the ape-like beings to do various things, like how to ride on horses and play musical instruments.

The video swiftly sparked a backlash after it was released on Wednesday – it was removed just a day later.

The band, Mrs Green Apple, apologised on Thursday, saying the video “contains expressions that lack understanding of historical and cultural backgrounds”.

In the video, the band’s three members – dressed in costumes depicting Columbus, Napoleon and Beethoven – are shown discovering an island inhabited by people who look like apes.

How is this not cultural appropriation?

Some social media criticised the video for being racist while others accused it of affirming slavery.

“Columbus is credited with creating slavery, and [there are] controversial scenes such as educating apes to look like natives. Didn’t anyone notice that,” read one comment on X.

“The music video shows the men dressed as colonisers and the natives are portrayed as literal monkeys… that’s actually insane,” another chimed in.

I strongly suspect none of these people were Japanese.

Or at least I hope they weren’t…

[Editor’s Note: If they were, they were women. –Ed.]

Others took issue with its portrayal of Columbus – the man has been credited for “discovering” America, but some claim he was a brutal governor who mistreated and enslaved the natives.

“Wasn’t there anyone involved who had studied world history at all?,” wrote a comment on YouTube.

“I think the people defending this video dont know anything about history in North America. Columbus is hated by many Americans, to the point where Columbus Day has disappeared [in many places],” another said.

In one of two apology statements posted yesterday, the band said they had intended to depict “life forms of different ages having a home party”.

“We were concerned from the beginning that [the apes] might be seen as discriminatory expression, but we had no intention of likening apes to humans.

“We never intended to make the content discriminatory or to make it something that affirms tragic history,” it said.

To be clear, racism is a hoax.

Like, it does not actually exist, in the form that leftists/Jews claim it does: no one actually “hates people because of the color of their skin.”

It’s possible that people hate certain races because of what they view as a certain established behavior behavior patter of that group. But I think that even that is very limited.

What I have found is that people become wary of certain behavior patterens they view as having been established by those groups. What is actually called “racism” is much more a “collective judgement” of certain groups based on pattern recognition, and/or the sense that this group presents a collective threat to their group. However, and this is certainly not insignificant, the most extreme examples of this involve people’s who more of less look very similar. Certainly on average, Poles are more “racist” against the Russians than white Americans are against black Americans. Further, Japanese are certainly a lot more “racist” against the Chinese (and also really the Koreans) than they are against American Indians (which they would have obviosuly very little knowledge of, beyond what they read in history books.

What’s more, is that whether it is white American collective judgement of blacks, or an Asian country’s collective judgement of really any other Asian country (it’s very difficult to find a group of Asians that gets along with another group of Asians, aside from something like Malaysia-Indonesia or Cambodia-Laos (and maybe their of those countries and Burma, though definitely none of those countries and Thailand, let alone Vietnam), where they have not only a shared genetic heritage but also a shared history. (In the case of Malaysia-Indonesia, they actually had a war with each other, an extension of the cold war, though in my experience the individuals of the two nations do not have explicit and general dislike or distrust of each other.

The important thing about “racists” generally – and again, almost every country on earth takes a position of “collective judgement” against their neighboring countries – most people will make exception for individuals. Though they may go into a situation with a specific bias, they also recognize that every person is an individual and may surprise them.

Basically, it’s all a gigantic hoax.

The music video was scrubbed from the internet, but you can still listen to the song

Snake Baker contributed to this article. 

DAS RITE!

Many blacks believe that Ludwig von Beethoven was secretly black. This was long promoted by Black Hebrew Israelites and various other fringe black cults, but has more recently seeped into the mainstream of black thought as various fringe blacks are being promoted by Jews as a way to radicalize masses of black people to attack whites.

It is not clear how it would be possible for a 19th century German pop culture icon to be black and have that not ever be mentioned by anyone writing at the time. But it doesn’t matter, because black people will just believe anything. The core of the claim revolves around an 1814 etching of the composer, which due to the etching style, made his skin seem dark colored.

A lot of the Jewish media supports blacks believing this theory, while not directly endorsing it themselves.

Now, another institution has come out to support the theory, while also claiming it is not literal.

The Réseau Européen de Musique Ancienne has announced on their website has announced that a Dutch Museum will be featuring a project using the black Beethoven theory to stop racism or whatever.

From the REMA website:

The Museum Geelvinck’s project ‘Beethoven is Black’ addresses topics of equal representation, inclusion and diversity in the world of early and classical music. They advocate more colors of all shades on stage, in the classrooms of music institutions and at all venues, where music is enjoyed. A diverse voice will not only enrich the sound of music but also nurtures the seeds for future generations of musicians to flourish.

4 June, 8 pm (CET), will be the kick-off with a panel conversation on the topic of how musicians of color relate to classical music in its historical context. Diversity and inclusivity in the sector today is part of the conversation. Keynote speaker will be Chi-chi Nwanoku, founding member of the Orchestra of the Age of Enlightenment and Chineke! Orchestra. On 18th September 2020, Chi-chi was a speaker at the REMA Symposium on Diversity in Early Music.

In their panel session will participate baroque violaist Patricia-Ann Neely (EMA Taskforce Inclusion and Diversity, US), pianist Luke Welch (Canada), Suriname-Dutch flutist Ronald Snijders, Orville Breeveld, Suriname-Dutch guitarist and podcast producer, and double bassist James Oesi (South Africa). The panel will be moderated by the Curaçao-Dutch television anchor Noraly Beyer. The event will take place in Amsterdam and will be mainly online

On 5 June, the musical video-podcast will start. In eight weekly episodes, the celebrated Surinamese-Dutch actress Gerda Havertong interviews musicians of color. These include Ronald Snijders, James Oesi, Shuann Chai and Shunske Sato. They perform works by Beethoven and by composers of color from the extensive 19th century on original period pianos.

Replacing historical European figures with blacks is demoralization tactic.

Jewish dominated cultural institutions are doing this more and more aggressively.

Is this satire?

“Professors stated that the classical repertoire taught at Oxford, which includes works by Mozart and Beethoven, focuses too much on ‘white European music from the slave period.’”https://t.co/EJmqtrTY8c

— Soylent John (@SoylentJohn) March 28, 2021

“The Slave Period” is the new way to refer to most of your history, goy

Yes, they are literally just removing all history of white people.

That’s happening, and it is happening now, and no one is doing anything to stop it because they’re afraid of being called “racist.”

Breitbart:

The University of Oxford is considering proposals that would remove sheet music from its curriculum over woke claims that teaching the Western form of musical notation has roots in “colonialism” and “complicity in white supremacy”.

In response to widespread Black Lives Matter protesters and riots last year in the United Kingdom, music educators at Oxford University have joined the wider iconoclastic movement which has been sweeping through British academia.

The music department at the prestigious and ancient university has seen calls to remove music notation from the curriculum as professors seek to focus less on white European heritage and culture, according to documents seen by The Telegraph.

The woke educators went on to claim that musical notation itself is a “colonialist representational system” that has “complicity to white supremacy”. The claim is similar to leftist pronouncements in America that mathematics is inherently racist.

The Oxford academics went on to pronounce that teaching the piano or conducting orchestras could cause “students of colour great distress” as the skills involved are closely tied to “white European music”.

Professors at the university said that the classical music which is taught at Oxford, which includes Beethoven, Mozart, and Schubert, among others, is too focused on “white European music from the slave period”.

The assertion is somewhat dubious, as Western classical music, as well as the practice of sheet music notation, predates the Atlantic slave trade, stemming back to musical traditions from the medieval period such as Gregorian chanting.

In response to student demands “arising from international Black Lives Matter demonstrations,” the Oxford faculty is also considering placing a heavier emphasis on “non-Eurocentric” musical traditions such as Hip-Hop and Jazz, as well as “African and African Diasporic Musics” and “Global Musics”.

The curriculum could also place more importance on pop music and culture, with suggested topics including “Artists Demanding Trump Stop Using Their Songs” at campaign rallies and “Dua Lipa’s Record-Breaking Livestream”.

Mocking the woke push from the university, London mayoral candidate and Heritage Party leader David Kurten said: “For goodness sake. Oxford is supposed to be one of our top Universities that promotes academic rigour and excellence. It should not be peddling woke nonsense like ‘classical music is racist and ‘sheet music is non-inclusive’”.

Some people apparently thought this was a joke a few years ago.

Well, they’re not laughing now.

Now, they realize the gravity of the situation.

One of the most commonly used tactics of Cultural Marxists is to throw an idea or accusation or blatant lie at the European and then sit back and watch as the hapless European tries to untangle themselves from the web of deceit, it doesn’t matter how ludicrous or dishonest the assertion is, what matters is that the European, the white person, has to reluctantly argue a counter case. In the case of the lie that Beethoven was of African descent, that he was black, the ”Progressive” knows that if the European argues back too stridently they can always shrug it off and say ”Yeah, but what does it matter? are you racist?”. Which is itself merely another trap set for the white person.

The idea Beethoven was black was first popularized by a mixed race, Jamaican/ white? man called called Joel Augustus Rogers who spent his entire life trying to crow bar Africans, meaning Negros not Arabs, into prominent positions in history. According to Rogers Aesop and Hannibal were African, not from North African stock, but Negro. Rogers does not produce a shred of evidence to support his claim that Beethoven was black, the assertion is based on this:

Beethoven’s family, by way of his mother, traced its roots to Flanders, which was for sometime under Spanish monarchical rule, and because Spain maintained a longstanding historical connection to North Africa through the Moors, somehow a single germ of blackness trickled down to our beloved Ludwig.

Over the last few weeks the Liberal press have gleefully reported yet another assault upon the ethnic identity of Beethoven, this time coming from a new groupcalled “Beethoven was African” you might well think they would have come up with some DNA evidence or perhaps a quote from the great man himself offering a new piece of proof, but you would be wrong. Jettisoning any semblance of scientific logic or method whatsoever this new group of African chancers have released an album bastardizing Beethoven’s masterful symphonies. According to their narrative, you can tell Beethoven was African because of the prolific use of ” African polyrhythmics” and thus they being actual Africans and playing Beethoven in an African manner, we can finally enjoy the master’s works in their true, African, form. This is an example of what they mean:

And this is the “fake” Beethoven suppressed by “Euro-Centrism”

Leaving aside the non existent scientific, genealogical or musical arguments for Beethoven’s Blackness, this argument becomes even more untenable when we take into account the social implications of Beethoven being African, which, let us not forget, no contemporaries ever mentioned, we must also take into consideration that the IQ of Sub Saharan Africa is between 59 and 70  while the estimates for Beethoven’s IQ tend to sit around the 165! mark. This puts Beethoven at the extreme edge of the European Bell Curve and well into “Genius” level intelligence. So according to this argument, not only was Beethoven an African, he was also the most intelligent African to have ever walked the earth. However, it gets even more dire for the black Beethoven argument when we consider that the Europe of the 19th century was not exactly the “diverse” and “tolerant.”

Europe we all love and enjoy today, indeed, and according to the Liberals, the few Africans which were tolerated in Europe were mainly to be seen in zoos.

The achievements of Africans and their contribution to “humanity” has been, to put it politely, very modest. So we can understand why they would want to “culturally appropriate” a great man from another race, though hijacking Beethoven is  certainly overkill. But what is to be gained from the usual suspects who run the media exposing the general public to this ridiculous hoax? it isn’t particularly complicated. The assault comes in from two directions. Firstly, Beethoven, unlike the far more controversial Wagner, is easily palatable, historically if not culturally, to a modern Liberal audience, he stands along with Da Vinci as a ‘cool’ figure and exemplary cultural icon, it says enough that a Globalist racket such as the EU has “The Ninth” as its anthem. But that is precisely the problem, it means having Europeans as giants of human accomplishment and beauty, when that is the last thing the Globalist elite want to promote. The second reason  is to undermine what Europeans think of as spiritually theirs. Even modern Europeans who are unlikely ever to listen to Beethoven know that they have a tradition, that their people have scaled the heights, not just of the physical world, but of the human, that is to say, European, their, souls. This is what our enemies want to take away from us. They hate us that much!

In the end I never had to click on sites full of gyrating Africans to disprove this ludicrous pile of hateful gibberish, and neither does any other European. All I had to do was listen to his soaring exploration of our inner being to know he was one of my own people, speaking to my own people.