Andrew Anglin

Daily Stormer

April 4, 2015

As the long war against Whiteness continues its wrapping up process, the last little pieces of remaining European culture and identity are being brutally attacked by the Jews and their brown army. No White rock can remain unbrowned. We mustn’t be allowed to have our own professions, fraternities, neighborhoods, or even our own musical genres.

Though it may look ridiculous to be hunting down and condemning obscurities of Whiteness such as indie rock culture, it is nonetheless necessary in order to make it fully clear to White people that they no longer have a right to exist at all.

As such, I was not surprised to read a condemnation of the “unbearable whiteness” of indie rock on the Jew-run Pitchfork music critic site.

Sarah Sahim, a brown person from wherever, wrote the piece as an attack on Scottish indie band Belle and Sebastian’s lead singer, Stuart Murdock, for producing a movie about White people which involves very White themes and interests which it would largely be very difficult for any non-Whites to relate to on any level.

Here’s the trailer for the film, entitled “God Help the Girl.”

I must admit that I did listen to this music in my early teenage years, and I will probably be downloading this movie.

Here is the title-track from their 1996 album “If You’re Feeling Sinister.” Should give you further idea of the tone of this man – just how ridiculously White he is. It’s about a couple of teenagers who fall in love and then both end up killing themselves (lyrics here).

The whole album (whole thing on YouTube here) could be described as a harrowingly poppy pseudo-Shakespearian take on the hollowness of growing up surrounded by 1980s levels of Western decadence and materialism. Those themes were obviously overplayed, they were nonetheless very heavy and intensely White themes. I was 12 when it came out, and when I was 13-14, it had a big impact on me. I didn’t listen to them much after that, and I seem to remember they kinda lost plot.

Sarah Sahim’s attack piece on this Belle and Sebastian film and indie rock more generally is quite interesting, in that it demonstrates very clearly the issues that non-Whites with a desire to destroy White society take with us as Whites. I am going to go through and break down and analyze some of what this woman is saying.

She begins by complaining about the fact that the script called for a White actress.

It was an early Spring morning, the soft yellow light crept through dusty floral curtains as the young white lady arose from her upcycled bed, tenderly, ready to embody Stuart Murdoch’s archetype of an ethereal indie darling. “We are open to Eve’s nationality (e.g. British, French, Australian),” read Murdoch’s casting call for the lead character in the Belle & Sebastian bandleader’s blindingly white film, God Help the Girl. One does not imagine he meant the native Aboriginal population of Australia when envisioning his perfect leading lady; the cast is entirely white. As a lover of Belle and Sebastian, I was disappointed, though certainly not surprised. Belle and Sebastian’s work is steeped in Whiteness; God Help the Girl merely underscores this.

Wow, an apparently literal suggestion that an Aboriginal actress could potentially play in a movie. And then the initial condemnation of the concept of an entirely White film, and the concept of a White identity in general.

The film itself is an egregious mess that romanticizes a woman’s struggles with an eating disorder for the sake of Murdoch’s self-promotion.

Here she demonstrates her first concrete objection to the nature of Whiteness. It is a failure to understand a concept, which causes her jealousy and anger. Because we are in on something she isn’t, and she never will be, due to the nature of her blood.

I have not seen the film, but I highly doubt that it romanticizes a struggle with an eating disorder for “the sake of Murdoch’s self-promotion.” That accusation doesn’t make any sense, as it implies that all story-telling is for the self-promotion of the author, which is not a valid criticism of a theme you dislike, just a weird appeal to emotion designed to insult and defame an individual.

One thing that non-Whites do not understand is that Whites actually enjoy their own suffering in some way, as we believe we are capable of deriving meaning from it which will serve to increase our personal development. As such, we have a tendency to romanticize suffering in our stories. This goes back to ancient Greece, and is obviously a core theme – really the core theme – of Christianity.

The optimistic, happy-go-lucky and painstakingly adorable aesthetic evidenced in every character he created is founded in Whiteness. Whiteness is beauty; Whiteness is what gives the character the ability to dream of fostering a career in music; Whiteness is what enables the audience to empathize with Eve’s character.

Again, anger and jealousy – “how dare this White man be White?”

I seriously doubt there are any openly racial themes in the film, but the implicitly White nature of it stirs feelings of resentment in this brown woman. Especially the idea that White girls are beautiful, which I think is the core of her complaint.

Which makes sense.

Part of life is that White women are simply more attractive than non-White women. And of course that is going to inspire hatred and jealousy in brown women like Sahim. But what is important to see here is that her other complaints are no more solid than her complaint that White women shouldn’t be allowed to be beautiful.

That is the bottom line here, not just with this Sahim woman, but with all of the brown people coming at us: Whiteness is superior, we don’t like that, and so you must stop existing in order to make us feel better about ourselves.

A recurring filler in the film was a fictitious radio show where two men try to decipher what “real” indie is and every band mentioned is white, enforcing the film’s aspirational Whiteness. While Belle and Sebastian aren’t the only examples of perpetuating Whiteness through indie rock, this movie serves as a microcosmic view of what is wrought by racial exclusivity that is omnipresent in indie rock. In indie rock, white is the norm. While indie rock and the DIY underground, historically, have been proud to disassociate themselves from popular culture, there is no divorcing a predominantly white scene from systemic ideals ingrained in white Western culture. That status quo creates a barrier in terms of both the sanctioned participation of artists of color and the amount of respect afforded them, all of which sets people of color up to forever be seen as interlopers and outsiders.

And here it is: Whites should not have their own spaces, and should be forced to involve non-Whites in things which have no relationship to them.

She admits that indie rock is a White space, and that is why the movie is White, but apparently implies that people in indie rock bands need to start making an effort to get non-Whites to join, even though non-Whites aren’t interested, because otherwise it is too White and that is evil. I guess if they can’t convince non-Whites to join indie bands, indie rock should just stop being made, as there is no situation wherein it is okay for Whites to be White with other Whites.

I will note that this “you can’t have anything White” is a very Jewish idea, and it is really only SJWs who are willing to push it in the realm of culture. Obviously, Black people will constantly complain that we’re not giving them enough free stuff and this hurts their feelings, and follow insane media conspiracy theories claiming that we are trying to shoot all of them on the streets, but they aren’t going to come at you like “yo dawg, why you not have any brown people in your musical band?”

She then forwards the “microaggressions” conspiracy theory to support her frothing hatred for the beauty of White women and White culture as a whole.

What substantiates this are the microaggressions, as well as overt and covert expressions of racism, that happen as a result of those systemically held ideals. Some may take the success of artists of color as threat to their space or scene. White art is deemed more worthy of respect, and so white audiences respond to it positively—it is set up for success.

Which “systemically held ideals,” Sarah? Are you actually suggesting a secret conspiracy by indie rockers to hurt the feelings of brown people, and basing that theory purely on the fact that most indie rockers are White?

She then explains why she feels good about the few Indian musicians active in Britain.

They illuminate political issues that concern and affect them, which is what resonates so intensely with brown fans of their music.

And hey, guess what Sarah? No White people are trying to get involved in that. Because they don’t care. They allow other people to have their space.

After a few long paragraphs of whining in a seemingly random fashion about her feelings and how horrible it is to see so many people who are White (the entire essay was very poorly structured, beginning with an attack on the film and then moving into a general complaint against all Whites in music – no way such a poorly written piece could have been published at Pitchfork if it was something other than a brown person attacking White people), she concludes:

It’s difficult not to be deterred and alienated by the overwhelming Whiteness of it all, especially when as a person of color, Western society flat out resists the witness of your life. … Whiteness is a mark of exclusivity that must be broken; to have masses of talent ignored in favor of a select few is not acceptable. Visibility of people of color in independent music is absolutely paramount for the genre to evolve and truly represent those cast away from the scene for too long.

Hahaha, it must be so sad, being brought from India – one of the most poor and filthy countries on the planet, where you literally have human corpses floating down your rivers through cities everyday – to the land of the White man only to have your feelings hurt by the fact there aren’t enough brown people involved in a minute White subculture!

As far as more brown people in indie rock – I don’t know what to tell you about that one. If they were both interested and had something to offer, I’d think they’d have gotten involved already. But then again, I don’t believe in your weird conspiracy theories about a secret racist plot by indie rockers.

Though it is cliché to even point it out, imagine if the races were reversed and this was a White person in a brown country complaining about how brown society had too many brown people. The very suggestion is ridiculous of course, as we aren’t even allowed to immigrate to their countries, so there is no point at which it would come up.

I will say here that this particular whining brown woman is not especially important, but it is worthwhile to look at what she is saying, as though this is a particularly absurd case, these are the themes involved in the endless fountain of complaints being hurled our way by these restless savages.

For what it’s worth, Sahim has already received a significant amount of backlash over the article, which was originally published on March 25th.

She’s been blowing up her Twitter (@sanizzurp) about all the hate she’s been getting from White racists, so feel free to drop her a line and tell her what you think about her promotion of hatred for Whites. Maybe suggest that she should go ahead and return to India, as no one wants her in Britain in the first place, and the idea of her whining and attacking Whites instead of thanking them for bringing her out of the filth-hole of India more than demonstrates that she has no place in a civilized country.