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Stevie Winwood
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).
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 sound of your footsteps In my midnight confessions But a little gold ring you wear on your hand makes me understand Staggering through the daytime In my midnight confessions That’s a little gold ring you wear on your hand that makes me understand In my midnight confessions
All of the lonely nights But I’d wait a million years As life is reality And I’d wait a million years A million years Pacing the floor, detest And I’d wait a million years I’d wait a million years I’d wait a million years The Who I’d gladly lose me to find you I’d pay any price just to get you I’d call that a bargain I’d gladly lose me to find you I’d pay any price just to win you I’d call that a bargain I sit looking ‘round I’d gladly lose me to find you I’d pay any price just to win you I’d call that a bargain Comments:2
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. 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. 3
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.
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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
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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?