“White culture is Family Ties and Led Zeppelin and Guns N’ Roses– like, this is white culture. This is all we have.”
– Christian Lander, blogger.
The popularity of rock music’s decline mirrors the recent late-stage decline of confidence in the West.
The rock music genre is complicated. Cue the liberals retorting with, “it’s all just black rhythm and blues, man,” and the conservatives contesting, “rock n’ roll is degenerate!”
“Rock music” as a term denotes a very large tent, a river with many tributaries and streams. And, large swaths of rock & roll music transmitted threads from prior manifestations of the European temperament, like the thunderclap of marauding berserkers, the bittersweet longings of the troubadours, and the earthy whimsy of the Romantics.
Indeed, rock music has expressed the exploratory reaching for “infinite space,” which is the prime symbol of Western man as described by Oswald Spengler. This last notion expresses in the sheer vastness and enormity of sound found in the rock music genre.
It is said that the Yule spirit sneaks in and peaks through even the most commercialized aspects of the Christmas season, and so too with a European disposition in rock music – even if it drew influence from other cultures, and even if it carried along with it subversive elements of late 20th century popular culture.
Much of rock’s structures draw from the blues, of course a product of early 20th century rural black culture in the American South. However, to say that all rock is simply amplified blues…
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Please Note: I have created four music playlists on my YouTube channel that complement this article:
Magazine cover art by Bo Ivanov
In-depth discussion I had with Carolyn Emerick about this article and relevant themes of European identity. On her podcast, Volklore: