‘Music of the White Western canon is still thought to be superior’

‘Music of the White Western canon is still thought to be superior’

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norman lebrecht

March 26, 2021

The contentious New York musicologist Philip Ewell is puffed up on the warpath once more.

Here’s his agenda:

Examining and exposing how and why White cisgender men, both subconsciously and, frankly, consciously, colorased Blackness and other forms of nonWhiteness from the conversation is what represents true antiracist work in the academic study of music. This much harder work relates to how and why those Black composers and musicians were colorased to begin with. The work is arduous, and exhausting, but ultimately rewarding and emancipating. However, this work directly challenges and threatens the White-cisgender-male power structure of what we do in the United States as musicians, and this is why true antiracist work in academic music is often met with angry, bullying, and gaslighting responses…

Read on here.

 

Comments

  • Y says:

    It is superior.

  • Sharkastic says:

    I’ll take Word Salad for 400, Alex.

  • Jan Kaznowski says:

    Readers of the UK mag ‘Private Eye’ will probably recognise a bit of their fictitious columnist (who is always angry and activist) called Dave Spart. This guy Ewell is beyond satire though.

    Next…..

  • Monty Earleman says:

    Musicology has nothing to do with music.

  • Rogerio says:

    On the same day, Mr Lebrecht strives to make the Great Stravinsky less great and works (for the third or fourth time) to make this gentleman (Ewell who?) more great than he deserves to be.
    I say this is White Maleness being its own worse enemy.

  • Curvy Honk Glove says:

    Finally. FINALLY! A voice of reason amid the ceaseless din of noise that is slipped disc. For centuries, Anglo-European artistic aesthetics and constructs have been the repressive knee on the neck of BIPOC composers, artists, and performers. The white-cisgender male power structure must be brought to heel and purged if classical music is ever to purify its collective soul and begin the healing and reconciliation process. However, it may be that the patriarchy is so deeply embedded and metastasized within the very fabric of “western” music that the shared transgressions may not be recoverable or redeemable. In that case, it is imperative that we consider the measure of ending all “classical” music as we currently know it. If silence is violence, then the sound of “western” music must be a deafening and tyrannical tumult.

  • E Rand says:

    because it is…

  • BP says:

    Colorase This.

  • Elizabeth Owen says:

    Well for a start what does cisgender mean? Then there’s colorased at which point I gave up.

    • James Weiss says:

      Cisgender is another word for just plain normal.

      • Sharon says:

        Cisgender means identifying with the genitalia with which a person was born–the woke will be insulted if you say that that is “just plain normal”

        “Colorased” is a new one for me, and I thought that I was pretty woke. I think it means “color erased” that is, ignoring people of color. I’ll see if its in the OED

  • Anon says:

    Why are you even giving this guy a platform?

  • Anamarialuisab says:

    I am sick and tired of the US-Americans giving the world the label of what is white and not-white. Guys, the rest of the world not care about your racial problems. They are YOUR problems. And yes, classical music is – as you like to call it – “white”, because it is rooted in the european culture, which is – as you like to call it – white, because most population in Europe is white. Does it mean I, a latinamerica-born music student in “white” Europe cannot participate of this art form and that is does not belong to me? No. So what is the problem? Please, stop, it is just a non-problem turned into a problem.

  • J Barcelo says:

    Maybe I’m stupid, or too old, but what is “colorased”? Some new invented word I’ve never seen.

    • John Borstlap says:

      It’s actually ‘coloraised’, children being educated from day one that they have a skin colour and that it will define them for the rest of their life.

  • caranome says:

    Whiteys, esp. heterosexual males, are bad n irredeemable. Blacks are good, beautiful & musical. That’s not racist at all, but the currently accepted thought that can’t be objected to lest you are a racist. Thousands of white male composers (dead & alive) are “musicrased” from the concert stage because their music are no good n couldn’t survive the music marketplace. It’s music, not race, you racist. Check out this article on the ongoing destruction of Western culture/music thru this race-based crap. https://www.unz.com/article/the-musical-trojan-horse/.

  • marcus says:

    Does this bloke ever change the record?

  • M McAlpine says:

    I suppose people who have nothing to say of intelligence must make up pretentious rubbish to try and get themselves noticed.

  • Anthony Sayer says:

    Woke me up when this drivel is over.

  • Alan says:

    Read on here? No thanks.

    Thankfully the academic study of music is of no interest to me.

    I’ll just listen to what I listen to and like what I like. Don’t need nobody telling me otherwise.

  • Pianofortissimo says:

    I think the entertainment factor with Mr Philip Ewel is long overdue. Please no more blogs on his feats.

  • Sam says:

    “Music of the white western canon is still thought to be superior.”
    That’s because it is.

  • James Weiss says:

    Name one single black or female composer who is the equal of Mozart or Bach. Just one. I’ll wait.

    • Brettermeier says:

      “Name one single black or female composer who is the equal of Mozart or Bach. Just one. I’ll wait.”

      I’m not sure if we’d ever have heard from Mozart or Bach if they had been on the cotton fields all day. Or having to tend for all the kids. How many kids did Bach have? 13? I guess that meant a lot of free time for Anna Magdalena to study composition. 😉

  • John Borstlap says:

    But the music of the white Western canon IS superior. Why? Because its composers happened to not be black? The term ‘superior’ in the first sentence has no meaning without mentioning the thing to which it is supposed to be superior. But to my knowledge there is no serious music journalist or musicologist or any academically-trained mind, who would say: this music is superior to Chinese opera, to American jazz, to gamelan music, to the Karnatic tradition, etc. and as far as I know, since the nazis spread their mental excrements about arians, nobody in his right mind would look at classical music as a genre through racist glasses. But that is exactly what Dr Ewell is doing. He invented a new form of musicology: musical racistology. A musical work not being a musical work, but a instrument of suppression in the hands of a racist elite.

    It is like analysing vegetables according to the ethnicity of the greengrocers.

    A Turkish or African greengrocer is OK but a white Kaukasian one is using his extremist rightwing tomatos to put an obstacle in the trajectory of liberation of suppressed minorities.

    Racism has to be treated in the way of how irrational prejudices are treated, and that can be done in a social way or psychological way or political way or educational way, but not in a musicological way.

    I think Dr Ewell lacks sufficient academic training and not only generalizes in a terrible way, but does not see he is confusing different territories in his intention to remove racist prejudice. And in the process he becomes exactly what he wants to fight against: a racist. He should implement his idealism in a very different territory.

  • michael says:

    There are many English followers of your site. Please can you provide a translation of this psycho-babble for us unenlightened mortals.

  • Tom Moore says:

    Simply the number of citations in RILM for the musicians that he claims are erased shows that the opposite is true.

  • Minnesota says:

    Quite a racket this fellow Ewell has. Trying to put his cliches into sentence format must indeed be “arduous, and exhausting.” Pity the students who will have to regurgitate them on exams. His work makes more sense as an attempt to secure his own job from budget-cutters.

  • Alexander T says:

    Music of the White Western Canon IS superior (IMO), which is why so many music American music colleges have such a high proportion of students from countries like Japan, China and South Korea.

  • M says:

    i just threw up a little.

  • Ewell might have a bigger readership if he wrote better English….and if he had anything important to say. The old joke about composers and musicians getting bad reviews applies here (like Liberace who said after reading the review of his concert that he cried all the way to the bank). Classical composers who get performed and recorded regularly are doing the same, Ewell should be disturbed to discover. The New Racial Musical Theory may get him published in the woke leftist cultural rags but for the rest of us we just have to laugh all the way to the concert hall.
    The estates of Bach, Beethoven and Brahms would be wealthy enough today to support many musicians, a thought that Ewell might ponder. Let us do what Bruckner did, famously, upon getting trashed by a critic: take Ewell into the smallest room in our house, place it before us, and then quickly behind us.

  • Bone says:

    I’m going to need this translated – I can’t read b^llsh!tese.

  • Rob says:

    Since his “work” is not worth remarking on, I will say that his looks remind me of the milli vanilli guy found dead of an OD in switzerland.

  • Chris D says:

    It’s crap like this that gives musicology a bad name.

    Universities (in the US anyways) are pumping out people with Musicology PhD’s and all they know about music is that all white cisgender men are racist.

  • Armchair Bard says:

    This guy is the gift that goes on giving, isn’t he? To adapt Clive James’s crack about David Irving: referring to the musicologist Philip Ewell is like referring to the metallurgist Uri Geller. Only Ewell is more entertaining, of course.

  • Rob Keeley says:

    Go away Mr Ewell, and come back if and when you’ve learned to write proper readable English. And grown up.

  • Jerome Hoberman says:

    Although you don’t denigrate Ewell’s project overtly, your sneering tone comes through clearly. So I wonder what it is, exactly, that you find so objectionable — especially on the eve of a holiday on which we celebrate our own repeated defeats of attempts to erase us.

  • George says:

    and this is why true antiracist work in academic music is often met with angry, bullying, and gaslighting responses…

    Read on here.
    ——————-
    Or better still, don’t bother if you only want to be outraged.

  • Alexander Graham Cracker says:

    To quote Prince: “Shut up already. Damn!”

  • Michael James says:

    Yawn . . . .

  • IP says:

    Your clumsy attempt at cultural appropriation has been unmasked. You spell Black and White, while it should be Black and white, as every politically correct musicologist can tell you. Even those who cannot find G on the keyboard.

  • Horbus Rohebian says:

    Yawn…an impossible read rich in new vocabulary (invented words).

  • harold says:

    If, as with his blog on Beethoven, he might like to take a course in basic deductive logic in order to mitigate the fancier propositions.

  • Le Křenek du jour says:

    It’s so beyond satire, I’m still half-expecting Titania McGrath or some other latter-day Alan Sokal to come forward and give the jig away.

    On the other hand, the assemblage of woke Lego bricks is so predictable, an algorithm could do it. Some youth dabbing in AI, poking fun?

  • christopher storey says:

    I ‘m sure it means something … but what is it ? I’m sure the work is exhausting . The shame is it hasn’t apparently exhausted this man ( do I have the right noun? ) yet

  • V.Lind says:

    I usually “read on here” and I am interested in this and related ongoing debates, but this guy lost me at cisgender — I expect it from the fanatics but I thought he was allegedly presenting an academic approach — and sank me at “colorased.” After that paragraph, I could only anticipate claptrap.

    I fear that neologism might be here to stay.

  • Editing says:

    Yes, equity, equality, diversity, 100%. I read that post and if one of my students submitted that to me, we would have a meeting to work on their writing.

  • They Call that Parrot 'Maestro' says:

    Schencker’s analysis is just a bunch of high-falutin’ Stufe.

  • UTURN says:

    Basically, disagreeing with me makes you a racist. Yeah, OK

  • Herbie G says:

    To say that this is claptrap would be giving it undue praise. It’s nothing more or less than anti-white racism. If Ewell and his supporters hate their country and its predominant culture so much, they should consider moving somewhere else where the atmosphere is more conducive to their aspirations.
    The colonialism that they excoriate so much is the concept of a minority asserting its power over a majority and delegitimising their cultural values. That is precisely what Ewell is trying to do.
    No doubt he wears clothing like that worn by the white slavers. The black students at the conservatories no doubt write in forms devised by white musicians, their works are written for instruments invented by and used by white musicians and no doubt they write their pieces in forms invented and cultivated by white composers. Ewell must now nail his flag to the mast and denounce Duke Ellington, Samuel Coleridge-Taylor, William Grant Still, Florence Price, William Dawson and all those other black composers who were treacherous lackeys of the white colonialists by adopting their musical forms, so betraying the cause of genuine black music. They all spoke English too – the language forced upon their forebears by the slavers.
    The black community should be fighting a war against the vicious police force in the USA that has perpetrated such appalling atrocities against not only black citizens but others too. By torching buildings and demanding that statues be removed and history be re-written to suit them, and by their mobs terrorising innocent people, they are no better than those who perpetrate injustices against them.
    I cannot avoid mentioning at this point the Black Lives Matter movement. If they do matter, then what on earth has BLM been doing about the black-on-black killings in Nigeria, Yemen, Ethiopia, South Sudan, Congo, Burkina Faso, the Central African Republic and Mali?
    I am sure this thread will run and run and I think I can say with confidence that the anti-Ewell postings will exceed those from his supporters.

    • Sharon says:

      What you say is very wise. It is very common for oppressed groups when possible to take on the mentality of the oppressor, to other groups when possible, or if not, stratify within their own group. People learn what they live and then live what they learn

  • Stephen Tomchik says:

    In the the linked article it is evident that the constructs “colorasure”, “colorased”, and “herased” are not real words but merely “academic” jargon. Not the best way to construct a convincing argument. Also, the obsessive focus on cis-gender men seems to ignore the issue of orientation in that group. Did the author “gayrase” Tchaikovsky, Tippett, Copland et al, or did I just engage in a bit of jargoneering of my own?

  • Brettermeier says:

    Bring on them non-“White cisgender” (ugh) composers’ baroque operas then. Until then I’ll stick with Vivaldi & Co.

  • Guest says:

    It is superior, until something better comes along. Science, the arts…so much (but not all), was done by whites. Maybe in 50 years, that will change. But the past can’t be erased. Anyone who tries to erase it or diminish it because it was done by whites is a racist.

  • Genius Repairman says:

    Westen Classical music did not just happen. It was built up over Centuries as notation developed, as instruments developed, as teaching and practice developed, as tuning developed and as ritual and superstitious practices faded from the mainstream, allowing musical innovation alongside philosophical innovation amongst much else. These progressive changes happened in Europe over the past 1000 years or so. It did not have to have happened there. There is no “music gene” indigenous to white males. China could have been the originator of the Symphony. India could have originated cantatas. An Ancient Egyptian could have written a concerto of a 1000 strings” (and maybe they did. Who knows). Westen Classical music is for Everybody, black, white, asian or transgender. Beethoven’s musici s a gift for the World as is the art of Rembrandt and Sanskrit poetry. It is not fundamentally racist or sexist despite evolving in a culture that was. Enjoy, and if your composing is not top level then learn to compose better!

    • John Borstlap says:

      Agreed.

      Also I was thinking, why is modern science not scrutinized for having developed during terrible minority-suppressing times in Europe? Is science white? Nowadays it has spread all over the world but nobody is bothered by Newton having been born in 17C colonial England.

      • Brettermeier says:

        “nobody is bothered by Newton having been born in 17C colonial England.”

        I’ll wait for a more diverse gravity, thank you very much.

  • Dragonetti says:

    Please make it stop!
    This is self-serving nonsense only fit to be circulated among similar academics. They all live in their little enclosed worlds and have little chance of anyone there being brave/stupid enough to disagree publicly.
    It serves no purpose in the real world, doesn’t enhance anyone’s enjoyment of music and doesn’t enable anyone to perform more effectively.
    If it wasn’t for the fact that people like this seem to be spreading their influence further and further (BBC R3 playlists for starters) we could switch off and ignore them. Unfortunately I fear that this is not the last of this garbage but more the beginning of a gathering storm. I despair, I really do.

  • Sad but True says:

    Boring. Also meaningless—‘colorased’??

  • Symphony musician says:

    I dread to think what some responses to this article might be.
    A constructive response would be for people simply to listen and reflect. Then, if people want to go further, perhaps investigate one or more of the names on Mr Ewell’s ‘colorased’ list, to see whether he is right that these people have been unjustly forgotten.
    It is simply no use at all if people write their knee-jerk, angry responses below columns like this. Any right-thinking person wants to introduce and enthuse a greater ethnic diversity of people to get involved in ‘classical’ music-making and listening, and if we’re not prepared to listen to suggestions and criticism we’re unlikely to get very far.
    Norman’s loaded language at the start of this Slippedisc post is irresponsible and does not help at all.

  • CA says:

    So sick of this white vs black vs whatever color/race And now style of music you wish to name. Can we just not agree that there’s many genres of music and who are we to say which is more important? So very tired of all of this fighting.

  • IP says:

    In the meanwhile, he has been surpassed by musical thinking at Oxford University, so why bother?

    • John Borstlap says:

      See above – Oxford is going to ‘decolonialize’ its syllabus, to protect youngsters against racist symphonies.

  • Anon says:

    Please make this idiocy stop.
    Ewell is an “academic”, huh?

  • Peter says:

    I think the problem is that 18th century german music is excessively dominated by germans, nearly all of whom were german, and all are now dead. The same problem exists for 19th century german music. Similar problems may be found in other european countries.

    Oddly, classical chinese opera has a similar phenomenon, and the music was performed entirely in chinese, for chinese and by chinese. I think this is likely to be the next target for criticism on account of it being insufficiently inclusive, multicultural and multiracial.

    • John Borstlap says:

      But what happens if in China, a Chinese orchestra entirely made-up of Chinese people, offers concerts of Western classical music (Mozart, Beethoven, Mahler) in an entirely Chinese concert hall, to thoroughly Chinese audiences? Is it diverse or the opposite or is it cultural appropriation?

  • Ainslie says:

    “. . . true antiracist work in academic music is often met with angry, bullying, and gaslighting responses…”

    And let me guess: Dr Ewell would automatically define any opposition to his ideas as “angry, bullying and gaslighting.”

    It’s a brilliant career move for a musicologist (especially in a world in which schools are eliminating musicology as a discipline altogether). No institution will DARE fire him or deny him tenure, for fear of incurring charges of racism.

  • Michael Endres says:

    Dear Prof. Ewell,

    as a simple musical enthusiast (originating from the species of white cisgender males) I wondered:
    could it be that Johann Sebastian Bach and Ludwig van Beethoven are actually superior composers when compared to let’s say Scott Joplin?
    (Whose ragtimes I regularly enjoy, but recently was told such enjoyment amounts to cultural appropriation…dang…)

    A further thought, venturing outside music here:
    aren’t William Shakespeare and Leonardo da Vinci also in need of “ultimately rewarding and emancipating” academic reassessment?

    I am already looking forward to the worthy replacements.

  • Sue Sonata Form says:

    Hee-haw. Of the type heard in the film “It’s a Wonderful Life”.

  • caranome says:

    Et tu, Oxford?!
    “The University of Oxford is considering scrapping sheet music for being ‘too colonial’ after staff raised concerns about the ‘complicity in white supremacy’ in music curriculums.
    Professors are set to reform their music courses to move away from the classic repertoire, which includes the likes of Beethoven and Mozart, in the wake of the Black Lives Matter movement.
    University staff have argued that the current curriculum focuses on ‘white European music from the slave period’, according to The Telegraph.
    https://www.dailymail.co.uk/news/article-9410665/University-Oxford-considers-scrapping-sheet-music-colonial.html

  • G. J. Connors says:

    Why is it still the ultimate goal of most blacks to be ‘white’?

    Blacks don’t want to be Native American Indian, Indian..from India, Asian, Hispanic, even Israeli; always ‘white’???

    It’s now extremely pathetic that blacks must abandon their African heritage in order to impress upon society that their culture is absolutely inferior to the point of gravitating to their polar opposite of their own race. Must they constantly declare their utter inferiority to the world by bowing to only one race? The answer is yes.

    Blacks have tried to fit in to only what American blacks covet which is superficial. No mention of the African continent enters comments on sd or in media discourse. Blacks don’t seem to appreciate or want education in their very own roots.

    Ask blacks in the mainstream media about their native language or any permutation thereof along with the basic geography, governmental or industrial information. They’re hopeless! Only their infatuation with Caucasian standards pervades conversations along with acting perpetually offended daily. Poor genuine Africans! African men REALLY make fun of black men in America from their speech to their mode of dress. It’s comical to them and an affront to their sense of masculinity and sense of dominance.

    • Sue Sonata Form says:

      One of my sons has a female friend from Kenya; she had a white father (murdered for his farm) and a black mother (whose family shunned her for marrying a white man). This woman and her friends and relatives, originally from Kenya, don’t want black partners; they say they want ‘caramel babies’ and so they partner with white men only. Their own ethnic stock doesn’t interest them. Ah, the ugly face of racism when you’re black yourself.

  • Jim C. says:

    Easy response: Beethoven and Mozart and Bach *are* superior to most else. No dilemma there for me!

  • IP says:

    The real question is: when I read about the kind of music scholarship cultivated at Oxford University, how can I be comfortable with getting an Oxford jab?

    https://www.telegraph.co.uk/news/2021/03/27/musical-notations-branded-colonialist-oxford-professors-hoping/

  • kidmaestro says:

    it is a sad state of affairs when we need to apologize for the whiteness of Beethoven & Mozart

  • Fred Funk says:

    Regular doses of Sildenafil won’t help this man.

  • Gerry Feinsteen says:

    In the big picture Western classical music is very much a niche market and field. Pop music has relevancy in mainstream media and coverage at all levels of news.
    I wish he could make a stronger stance for asking about inclusion/exclusion in the world of hip/hop, which covers a far more vast familiarity within popular culture. I do not know of many gay rappers, let alone Asian ones, or even transgender rappers, and questioning their absence from the works of hip/hop might be revealing though not necessarily all that helpful.
    Same goes for rock music—not many metal bands with black members.
    I do think it would be useful to address that first given it’s much less niche.
    One need only visit IMSLP to see the massive amount of musical scores by composers who were lost to time, yet whose music is generally not too distinctive. Beethoven has been in style in this niche market since his own time, continuously—can’t say that for Bach, or the Beatles. It is nice to hear lesser performed works, but we should keep in mind with the exception of a few, most composers and their works just didn’t make it very far or long.

  • Marsyas says:

    I wonder whether Ewell’s work is going to have any long term impact? I mean, it’s not like eliminating racism from classical music is one of the world’s most pressing (or even tractable) problems. Givewell isn’t suddenly going to say: “Oh, well, the developing world has lots of important, neglected and solvable issues, but this Ewell guy has a good point — give all your money to him!”

    Ignoring past injustices, for now, I wonder what the base rates are for the proportion of minority ethnic people who (a.) want to be professional classical musicians and (b.) are professional classical musicians. Is the difference is significantly different from whites? Things are obviously a lot fairer than they were in the 19th century, even though they’re not perfect. However, group-level preferences exist! (Hint: we sometimes call them “cultures”). For most people, the “Western Canon” isn’t even on their radar. Just think of all the passionate fans of Jazz, Hip-Hop, Rock, R&B, Soul, Kaiso, Calypso, Ghazals, Carnatic music, and so on, in the US alone! I wouldn’t be surprised if some minorities are statistically overrepresented relative to the proportion interested in western classical music. Anecdotally, my boyfriend’s family is mostly Caribbean, and I’ve only met one person in his family who’s interested in something other than reggae, rocksteady, soca, etc. For them, Lord Kitchener and Burning Flames are as important as Beethoven and Debussy are to us. And that’s not to be sneered at. If anyone does know the stats, I’m genuinely interested, since a lot of the ‘statistics’ I’ve seen don’t even try to take into account group level preferences. Maybe they’re very small difference? I’m open to more evidence.

    But, back to my main gripe: it isn’t necessarily such a bad thing that western musicology self-selects for people interested in western music when, bluntly, it’s not that important compared to things like global catastrophic risks, global health, poverty, governance and AI. I half-jokingly think that getting enough sleep and nutrition is probably a more pressing problem for most people.

    • Tim says:

      The point isn’t the rationality displayed in your comment. The point is to fuel an ideology, even if it undermines its purported mission of “racial justice” but throwing its own kind of gas on the fire. Actually, that is one of the ways that ideology tries to keep itself alive, by manufacturing racial tensions and putting them parrelel alongside pre-existing historical ones. Sneaky sneaky.

      Some ideas of “Social justice Ideology” are good, but the “ideology/ideolougues” are bad and should be done away with because it is a joke. Example:

      “Ban Beethoven!”

  • Marfisa says:

    I read the link. The assertion of ‘colorased’ is that if a Black person who composed music has been forgotten, that is because of white male cisgender racism. Wikipedia’s chronological list of American classical composers has over 400 names for which it has entries, predominantly from the nineteenth and twentieth centuries. (Fascinating that the earliest was Charles Theodore Pachelbel, 1690-1750, son of Pachelbel of the notorious canon, who spent the last years of his life in Charleston.) 6 of Ewell’s 28 ‘colorased’ musicians were on the list, and not all of them are ignored today (George Walker, for instance). His Twitter list is simplistic. All of his victims of ‘colorasure’ had a sound musical education and successful careers, with recognition as composers and performers in their own lifetimes. A similar list could, I am sure, be made of now forgotten non-Black composers and musicians. There is work here for a musicologist with some statistical training — and no axe to grind.

  • Michael James says:

    Is this stuff written by a human being? Or by a woke-programmed computer?

  • Edgar says:

    “Der Hölle Rache kocht in meinem Herzen,
    Tod und Verzweiflung flammet um mich her!
    Fühlt nicht durch dich Sarastro Todesschmerzen,
    So bist du meine Tochter nimmermehr.
    Verstoßen sei auf ewig,
    Verlassen sei auf ewig,
    Zertrümmert sei’n auf ewig
    Alle Bande der Natur,
    Wenn nicht durch dich Sarastro wird erblassen!
    Hört, Rachegötter, hört der Mutter Schwur!”

    Oops.

    Written by not one, but two white cisgender decolorazing men.

    Let eternal damnation be their fate – écrasez l’infâme!

    Poor Philip. He needs clinical attention.

  • Sharon says:

    Ironically, just yesterday I listened to some music which sounded just like opera or classical choral music although it was in an African language.

    The Ghanian who was playing it on his I Pad said that the music was Ghanian and call “high life” music in that country.

    Copied from Western classical music? Who knows? The man listening to it believed that it was indigenous to Ghana.

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