Classical Music as a Form of Social Dishwashing Liquid By Paul Walker

     Classical music is white, therefore racist, and must die, and this is no exaggeration, for these terms are culled from this pc article:
  https://nmbx.newmusicusa.org/its-time-to-let-classical-music-die/

“My fellow musicians of color: it is time to accept that we are in an abusive relationship with classical music.

Classical Music is Inherently Racist
In my previous articles, I laid out my experiences and reasoning for coming to this conclusion. I started with “Am I Not a Minority?” to explain the everyday racism people of color experience and how it manifests on an institutional level. If you haven’t read it already, I encourage you to explore how institutions uphold their power by choosing which minorities to give access to. The few scraps given to minorities are overwhelmingly white–occupied by white cisgender women or LGBT+ individuals. The few PoC who are given access to institutional space are most often light skinned and non-Black while also exoticised and tokenised. And that led me to my second article, “Escaping the Mold of Oriental Fantasy“–a personal history of isolation and colonization, of how Western classical music participates in the act of destroying culture and replaces it with its own white supremacist narrative. Finally, I shared my attempts at reviving my culture and my tradition, along with the barriers I faced on this journey. My third article, “I’m Learning Middle Eastern Music the Wrong Way,” chronicles the difficulties (and the near impossibility) of engaging with my own cultural musical practices in a proper, authentic way. From three angles I shared my attempts at being an authentic composer. These articles bring to light the many ways in which the dreams of low-income people of color are obstructed in the Western classical tradition.

WESTERN CLASSICAL MUSIC IS NOT ABOUT CULTURE. IT’S ABOUT WHITENESS.
Western classical music is not about culture. It’s about whiteness. It’s a combination of European traditions which serve the specious belief that whiteness has a culture—one that is superior to all others. Its main purpose is to be a cultural anchor for the myth of white supremacy. In that regard, people of color can never truly be pioneers of Western classical music. The best we can be are exotic guests: entertainment for the white audiences and an example of how Western classical music is more elite than the cultures of people of color.

What to Do About Our Love for Classical Music? It’s not uncommon to love your abuser. I know the experience, and can understand how hard it is to leave. Despite all that classical music has done to me, I still can’t help but marvel at the religious splendor of Bach’s works for organ. Nor can I help but weep at Tchaikovsky’s raw expressive power. I will forever love my favorite composers. It is possible to be critical about the way classical music is treated and to adore the individual works which inspire you at the same time. I am not making a judgment call on specific works in the canon, but instead their function in modern classical music institutions

IT IS POSSIBLE TO BE CRITICAL ABOUT THE WAY CLASSICAL MUSIC IS TREATED AND TO ADORE THE INDIVIDUAL WORKS WHICH INSPIRE YOU AT THE SAME TIME.
And there is still the question of what to do about the skills these composers taught us. I would like to return to the analogy of the abusive relationship. Many of us have learned a lot from our abusers. Some abusers are even our parents. Their abuse can follow you wherever you go, and escaping them entirely may be impossible. Whether we like it or not, we are forever changed by our abuse. This abuse can appear as a scar. We will need each other to heal from the trauma. But we also need to survive and nurture the spirit which requires us to create. While most composers of color are responding to a calling, that calling is to create artwork in our own voices not to behold ourselves to the social construct of Western classical music. We can do that using the tools we learned as classical composers without contributing to our own abuse. As I shared in my previous article, we can get to a better understanding of our own cultural traditions little by little if we just start exploring. In order to leave our abusive relationship, we need a community.

It’s Time to Let Classical Music Die
Western classical music depends on people of color to uphold its facade as a modern, progressive institution so that it can remain powerful. By controlling the ways in which composers are financed, it can feel like our only opportunities for financial success as composers are by playing the game of these institutions. It’s time for us to recognize that engaging with these institutions, that contributing to the belief that our participation in composer diversity initiatives is doing anything to reshape the institution of classical music, and that classical music is an agent of cultural change instead of a placeholder to prevent composers of color from forming our own cultures, is ultimately furthering colonization and prevents us from creating artwork capable of real, genuine expression.

WRITING FOR AN AUDIENCE OF RICH WHITE PEOPLE IS NO LONGER A PRIORITY OF MINE.
Writing for an audience of rich white people is no longer a priority of mine. Instead, I want to create music for my community. Instead of contributing to white culture and helping them erase my own narrative, I want to use my ability to create art to keep my culture alive. As long as people of color are making art, culture stays alive. This mission is entirely against the nature of white supremacy, which seeks to replace non-white cultures with their own fantasies. Therefore, I will not find support in this endeavor.”

     Not to worry, let them have their rap and other cacophonies. In fact, classical music is like a form of pc disinfectant, so it is no wonder that the politically correct libtards recoil against it, like vampires shying away from the sunlight. Thus, classical music should be used to assert Northern European identity, and all the bs of the modern age, should be tossed away from us:
  http://www.amerika.org/politics/using-classical-music-to-assert-european-ethnic-identity/

     Classical music is even being used to drive away crime usually committed by certain types of folks:
  https://www.bbc.com/news/uk-england-humber-47640266

“Classical music is being played at Hull's railway station in a bid to reduce anti-social behaviour. It is one of a series of measure being introduced, including extra security guards and closing a side entrance. Train operator TransPennine Express (TPE) said the music would be played as part of a three-month trial. The company said that the same move at Cleethorpes station had seen "complaints of anti-social behaviour reduced by around 75%". Dan Dreggs, TPE's station manager at Hull, said the Cleethorpes experiment started a year ago. "It deters youths that possibly don't want to listen to it," he said. "We probably used to have about 20 to 25 youths on the station each night and now we'd be lucky to get two or three." The tactic has been used elsewhere to cut crime. Beverley Bus Station in East Yorkshire started playing Mozart in 2005 after complainants about gangs of youths congregating in the evenings. Last year, a branch of McDonalds in Welwyn Garden City, described as a disorderly behaviour "hotspot" by police, cut off its wi-fi and played soothing music from 17:00 onwards."

     Modern music, that serves as the sound track of our decadent society is a form of mind pollution, and the first thing needed in liberation is to get rid of the entire Catalogue, rock, pop, rap, soul, jazz, you name it. I hate the music, because it has been devised to serve a globalist agenda:
  https://www.thclabs.org/music/music-and-mind-control-is-the-music-industry-brainwashing-you/
  https://blogs.scientificamerican.com/guest-blog/the-power-of-music-mind-control-by-rhythmic-sound/
  https://www.funktasy.com/electronic-music-mind-control/

     The parallel example is how movies and TV manipulate our emotions if one does not keep a critical faculty. Thus, in the TV series, The Americans, the storyline dates to US in the Cold War. The main characters are a husband and wife KGB spy team. They have set up a family as a cover, while they engage in horrific assassinations, such as killing an old lady, symbol of old America. Yet, the program is acclaimed.  Apparently, the main FBI guy, who loves a Russian KGB double agent, lets them get away in series 6, the conclusion, because Hollywood loves communism. It is bad karma to watch this sort of stuff.