Stevie Winwood

Posted by DanielS on Friday, 15 August 2014 05:11.

An exemplar of a White man, an English man, who can naturally assimilate a black sound in his vocals and music, but excelling beyond, in creativity. 586 words

He provides an antidote to black artists propped-up by Madison Avenue as alpha-male role models for wiggers.

Unfortunately, Winwood’s best work was limited to a span between his ages of 18 and 22. Though abundant, it is perhaps also unfortunate that his songs of that time were often thematically psychedelic, and because they were so good, were seductive to drug abuse. Nevertheless, if one had the intellectual, emotional and social structures to avoid getting caught-up in drug abuse, these psychedelic songs provided a reprieve from the all too abundant songs so stressfully obsessed with pursuing women to superhuman lengths - a great deal of stress for both young men and women, while not providing much advice regarding skills to negotiate such prospective relations - The Grassroots, “I’d Wait A Million Years,” “Midnight Confessions,” The Who’s “Bargain” come to mind.

Controversy aside, Winwood’s rock music was cool, manly and English. It did not shrink against African man, but eagle-clawed its stylisms and excelled beyond in imagination. These abilities command respect and emulation from young White men.

The contrast of Winwood as a role model as opposed to say, Bob Marley, hit home just last night. It also provided a ready argument against those who say that my example is dated. Bob Marley’s heyday was only about five years after Winwood’s peak 1966 - 1971.

We still have wiggers walking around with dreadlocks (White kids with dreadlocks, assimilating the stylisms of the Afrocentric Rastafarian religion, which sees blacks as the true Israelites, and Whites as the people of Babylon). Indeed, I was strolling past a restaurant featuring a noodle dish that appealed to me and was greeted by a White guy wearing thick dreadlocks. A White guy with dreadlocks offering noodles - how much could they be? I didn’t even ask, but went ahead and ordered a bowl. It turned out to be twice as expensive as I had thought (White Rastafarian businessman).

dreadfulun
Dreaded White - middle class kids whose parents didn’t beat them enough

Anyway, I never expected reggae to have staying power. I witnessed its emergence as a phenomenon. Al Anderson, guitar player for Marley on all of his famous songs, was from my town; an associate of my brother; Anderson’s pre-Marley band even held rehearsals at our house. The group, “Red Bread”, featured Joe Walsh, later to go on to fame with The Eagles and Chuck Burgi, who would drum with Brand X among several famous acts.

I guess weed sanctified + being cool with, unintimidated by blacks as compounded by Jewish promotion of anti-White religion, made reggae and Rastafarianism work for some young White women - and by proxy, some young White men.

But I digress.

Of course the half Jewish half black Bob Marley is among legions of blacks held up as alpha male role models.

Nevertheless, though many White artists try to assimilate black stylisms (ill advised to attempt and model by itself), Winwood does show that our kind have the capacity for these stylisms and more. I.e., we do not need non-Whites for these abilities.

Therefore, for those who can’t get into classical music or other strictly White music alone, Winwood provides a model to show that we can do the black thing while excelling beyond it; and nevertheless maintain our White man form.

..........................................

Insane stress in competition for females who should, by contrast, be natural and comfortable among us, as our co-evolutionaries:

Obsessional confessionals from The Grass Roots and The Who

The Grass Roots

Midnight Confessions

The sound of your footsteps
Telling me that you’re near
Your soft gentle motion, baby
Brings out the need in me that no one can hear, except

In my midnight confessions
When I tell all the world that I love you
In my midnight confessions
When I say all the things that I want to
I love you

But a little gold ring you wear on your hand makes me understand
There’s another before me, you’ll never be mine
I’m wasting my time

Staggering through the daytime
Your image on my mind
Passing so close beside you, baby
Sometimes the feelings are so hard to hide, but

In my midnight confessions
When I tell all the world that I love you
In my midnight confessions
When I say all the things that I want to
I love you

That’s a little gold ring you wear on your hand that makes me understand
There’s another before me, you’ll never be mine
I’m wasting my time

In my midnight confessions
When I’m telling the world that I love you
In my midnight confessions
When I say all the things that I want to
Na-na-na-na, na-na-na-na
Na-na-na-na, na-na-na-na
Na-na-na-na, na-na-na-na
Na-na-na-na, na-na-na-na

The Grass Roots

“I’d Wait A Million Years”

All of the lonely nights
Waiting for you to come
Longing to hold you tight
I need you so desperately
Waiting for you to come
Bringing your love to me

But I’d wait a million years
Walk a million miles
Cry a million tears
I’d swim the deepest sea
Climb the highest hill
Just to have you near me

As life is reality
When you are near to me
I am in ecstasy (Whoa-whoa-whoa-whoa)
I’d swallow the pain and pride
Baby, I just can’t hide
All that I feel inside

And I’d wait a million years
Walk a million miles
Cry a million tears
I’d swim the deepest sea
Climb the highest hill
Just to have you near me

A million years
I would wait for you
A million tears
Baby, I’d be true
A million miles
I would follow you
A million years
If you want me to

Pacing the floor, detest
Sweat pouring down my chest
Still I can’t love you less (Whoa-whoa-whoa-whoa)
It’s worth all the pain and pride
Baby, I just cant hide
All that I feel inside

And I’d wait a million years
Walk a million miles
Cry a million tears
I’d swim the deepest sea
Climb the highest hill
Just to have you near me

I’d wait a million years
Walk a million miles
Cry a million tears (Whoa-whoa-whoa-whoa)
I’d swim the deepest sea
Climb the highest hill
Just to have you near me

The Who

“Bargain”

I’d gladly lose me to find you
I’d gladly give up all I had
To find you I’d suffer anything and be glad

I’d pay any price just to get you
I’d work all my life and I will
To win you I’d stand naked, stoned and stabbed

I’d call that a bargain
The best I ever had
The best I ever had

I’d gladly lose me to find you
I’d gladly give up all I got
To catch you I’m gonna run and never stop

I’d pay any price just to win you
Surrender my good life for bad
To find you I’m gonna drown an unsung man

I’d call that a bargain
The best I ever had
The best I ever had

I sit looking ‘round
I look at my face in the mirror
I know I’m worth nothing without you
And like one and one don’t make two
One and one make one
And I’m looking for that free ride to me
I’m looking for you

I’d gladly lose me to find you
I’d gladly give up all I got
To catch you I’m gonna run and never stop

I’d pay any price just to win you
Surrender my good life for bad
To find you I’m gonna drown an unsung man

I’d call that a bargain
The best I ever had
The best I ever had

Tags: Media, Popular Culture

Comments:

Posted by BritishActivism on Fri, 22 Aug 2014 20:25 | #

Seeing as there are no comments on this at all, I thought I would throw something into the ring.

It is often levelled at us British that we have nothing of our own and that we have stolen everything from everybody else. This is a bit of a relativistic slant against having any identity, music, or traits of our own.

We are told this no matter whether it is music, food, or any cultural practice. ‘Fish and Chips’ are even claimed to be a Jewish invention and seeing as we imported the potato in the first place, anything containing potato is therefore not really British, and on and on it goes. This is the logic of liberals at times.

However, whilst I would not deny some element of truth to this, such as a distinctly black sound to some of these bands, I think it is fair comment by Daniel that we whites can take something from other influences and excel and surpass others at it.

That has perhaps been one beauty of the British for a considerable period of time, from explorer days to present times…. we have internalised elements of others whilst, at the same time, making them distinctively British and, importantly, doing it with a large degree of racial homogeneity intact and a capacity to discard some of the aspects to things which were not suitable for us.

Whether it is “Indian tea” drinking, elements of reggae in some music, or whatever, we were not exactly taking up the Indian culture in the process, importing millions of Indians with the tea, turning into reefa smoking rastafarians, or whatever else. We have often taken a hint of something, then improved on it.

The relativism game can be played with anything though. Anybody who bangs a drum will have probably, in the minds of some liberals, stolen it from Africa. Only, it is usually Western/Whites they really deny any sense of identity to.

Nor do they really take into account that much of the world has stolen, for better or for worse, many of our traits, laws, positions, technologies, fashions, or whatever else.

They hardly deny the identity of Africans when they are listening to a radio, or driving a car, or going to a court of law….. some even say that curry was actually invented by the British Army to disguise the rancid meat found in hot countries they were out-posted to. Whether true or false, it does not really change anything.

I don’t think here is much wrong with taking influences off each other. That, perhaps, is what global diversity in its true form is all about. There being differences there (at all) in which we can have these cultures and traits that generate a unique sound, attitude, system, or whatever. We can see, or should be able to see, what to avoid, what we can use, what may be a good idea or not.

But as I say, that does not mean to say that we need to be “multiracial” or “multicultural” because we have picked up these objects, influences, or words, from other peoples. In fact, by using it as an argument to deny identities and mix everybody up together, they are destroying the ability to stand out, to pick and choose, to be different, and, in our case, be homogeneous whilst liking different music or foods.

As for Steve Winwood, I have only become accustomed to him in later life. I would not say I was very familiar with ALL his work, but I liked his later sounds when he had a ‘comeback’ era such as “Higher Love”......and I like the early stuff from when he was in the Spencer Davis Group. He is one hell of a singer/musician. He can apparently play keyboards, bass guitar, drums, guitar, mandolin, violin, and various other strings.

I am only in my mid thirties, so I missed all that era, but it all has an energy about it and often a kind of nostalgic feel such as you find with The Dave Clarke Five. My favourite video of the DC5 is this one so far https://www.youtube.com/watch?v=z0Ib501CEjU - a very nostalgic feel to a Britain that has long gone. On the whole, they had no real idea what awaited, did they?

Posted by Bill on Sat, 23 Aug 2014 05:39 | #

British Activism @ 1

Throughout human history each generation absorbs its culture and becomes part of it, this was the culture I was born into and has shaped me for what I am.

https://www.youtube.com/watch?v=rcyzAIkMwrg

To-day it is the BBC (modernity) that gives us our culture so is it surprising we are what we are?

Is it total randomness that we are born when we are and borne what we are? Life has taught me nothing stands still, nothing remains the same, the simmering pot of life is constantly bubbling.

Yes. I’ve shown this before. Pity the music is not English but I still love it.

Posted by DanielS on Sat, 23 Aug 2014 06:32 | #

British Activist, thanks for your comment…

Bill, I’ve opened that clip on the “Did I really see that?’ series below..hope it’s ok.

Also, regarding The BBC, since we are not single causalists, we might also note the Jewish influence on The BBC - you might find David Duke’s show (at Rense network) from Date: 08-15-14 interesting. He discusses Jewish takeover of TV media in the UK (in identical manner to that of the U.S.)

Posted by Bill on Sat, 23 Aug 2014 09:23 | #

@ 2

Just for interest really.

Within 4 short years the skies above those idyllic scenes (video link) was throbbing with aircraft engines.

I came across this recording several years ago, it is hard to believe this happened. It is very poignant - imagine the thoughts of those cocooned above and not least those who are soon to be on the receiving end.

I wanted to illustrate the uncertainty of life in all its guises. War not withstanding.

https://www.youtube.com/watch?v=H_MHqW5KVds

It was World War Two. The microphones in Foyle Riding had picked up the sounds of 197 aircraft massing over Southern England en route to bomb the German city of Mannheim. Unwilling to warn the Germans of an impending raid, the BBC pulled the plug. The Nightingale broadcast was abruptly halted, but as the phone lines were still open and equipment still in place, both nightingales and bombers were recorded on acetate disc.

It is one of the strangely profound audio documents of the British air-war.

http://publicaddress.net/im:8577/nightingales-bombs-beethoven/