Over the years it has been suggested, in certain pro-White circles, that rock music is an inappropriate avenue for Aryan artistic expression due to its "black roots”. The argument (for the rock opponents) goes something like this: Because "everyone knows" that negro blues are the "foundation of all rock mUS1C it necessarily follows that all rock music is at its core "black music”. It is, I believe, time to set the record straight.

We should turn first to the apparatus which, despite ones preferred genre, I'm sure all reasonable people would admit is the heart and soul of every rock band-the electric guitar. While we could debate endlessly concerning the merits of folk, bluegrass and such (styles I love too, by the way) the fact remains that the invention of the electric guitar made possible sounds and techniques that acoustical instruments could neither create nor tolerate the rigors of, and thus gave rise to a style of music that would be, wholly, its own. It should go without saying (but won't) that without electricity (itself an Aryan innovation) Les Paul (a White man) could've never discovered the methods necessary to the amplification of stringed instruments, and the aforementioned sounds and techniques unique to rock music would simply not exist.

There is no doubt that at the time of the electric guitars invention in the mid-twentieth century American Negroes had been playing a style of acoustical guitar-based music called "the blues" for many years. However, to suggest that Whites themselves were not also playing acoustical guitars during this era, indeed to suggest that Whites would borrow from (or, as some say,” steal") the more often than not crass and hardly complex "blues" to make guitarists of ourselves when we had many generations of folk, country and western and even classical music to draw inspiration from is preposterous. I am not, admittedly, a historian, but one need not be to understand that a people (Aryan's) with such a vast and varied spectrum of musical innovation and instrumental invention would require no cues from a genre that purportedly had its roots in the shotgun shacks of the American antebellum South. Negroes bemoaning their lack of liberty whilst haphazardly strumming and picking at the discarded instruments of their masters (for they had never know the guitar prior to their exposure to Aryan culture, period) may constitute "music" to some, but it was no "catalyst" to Aryan understanding of musical theory or technique.

One of the popular arguments of rock-is-blues proponents is that many of the readily acknowledged White guitar greats them­selves cite as influences Negro blues artists (?) of the last century. Perhaps there was an elements of rebelliousness that led the jimmy Page's and the Tony Iommi's of the world to reject the scales and chords of more formal guitar training for a time to incorporate new-found (read: novelty!) methods. It is an integral part of the Aryan mans make-up to be intrigued by the unknown, by things new and novel to us, but the speed with which the Page's of the world discarded the novel notions of blues guitar playing In order to revert to more complex and challenging style (which would, not incidentally, become the cause for their fames and fortunes, not playing blues) should itself be evidence of the blues inability to sate their artistic hungers, despite their continuing purported enamor with the blues. As for those who would continue to insist that blues-is-rock and vice versa by pointing to examples of white musicians whose bread-and butter HAS been "blues rock" we must concede to the truth that a certain contingency has, inexplicably, elected to impose limits on their own artistic ability by rehashing this unchallenging genre, but even in these we find the essence of Aryan supremacy, for never has the music of Jimi Hendrix been so compelling as it was when it was played (and improved upon) by Stevie Ray Vaughn.

As we venture now into the realm of Metal specifically, we dis­cover an ENTIRE GENRE of rock which was, through its progenitors, disinclined to "settle for" the simplistic, indeed a genre which would accept as artistic only that which embraced and expressed the complex, and in such found the vehicle through which the essential elements of the Aryan Spirit-evolution and power­ could be exhibited. From the blistering rhythms of James Betiielu to the clean virtuosity of Joe Satriani or Dave Murray, we find more similarities with the complexities of Bach or Vivaldi than we could ever hope to with the plodding "playing" of typical blues. Even in metals lyricism, be it the sardonic wit of Megadeth of the brutal truths of Amon Amarth, we find intelligence and insights so compelling that it is an insult for anyone to suggest that metal would share its roots with the likes of those respon­sible for penning lyrics such as,"I so sad/dat woman so bad/ I'll hurt mol/if dat make her glad".

The bottom line is this:Whether you prefer the foundation of mainstream metal, the punk/oi onslaughts of Skrewdriver,the galloping metal grip of Bound For Glory or the Black Metal massacres of Burzum, the fact is you are listening to music that is not only Aryan in its oration but Aryan in its ORIGIN as well. If the minions of "mainstream" musicianship are content to contribute to egalitarian idealism by taking their talents and reducing such treasured gifts to the status of "blessings" bestowed upon their pitifully White selves by barely literate share croppers, so be it.It should, however, behoove us of higher minds to acknowledge the hype for what it is (and what it INTENDS!),to refute the absurdities when they confront us and to educate (and thus entertain) our kin accordingly.

So ,the next time you're jamming and some idiot attempts to muddy your waters or make BB your king, you let them know the only blues in your music’s past was in the eyes of its originators and that when you come to crossroads you still walk straight and true. Oh,a nd rock on!