I’m of the belief that we have a duty to treat the other races with dignity and respect. If they come to our countries, we should do what we can to make them feel welcome and help them integrate into our societies. However, that doesn’t mean we should have to grovel before them and take whatever abuse they dish out. I believe that if we truly do live in an equal society, then the same responsibilities should apply to other races that apply to white people.
If there’s one thing I’ve tried to get through people’s heads time and time again in my writings, it’s this. White people are under attack all over the world. More importantly, we’re under attack in our own countries. Over the last few days, I’ve become aware of a particularly vile creature who perfectly exemplifies what I’m talking about.
Sarah Sahim’s attitudes towards white people can be summarised right here.
Not shown in the list above (so I’m not 100% certain if this really happened, but I’d say it’s plausible) but supposedly she also once tweeted that if she became Prime Minister of Britain, she would deport all the white people living there to Ireland. Can you imagine that? Joking or not (I’m leaning towards not based on the tweets above) she’s literally saying that she, an immigrant, would love to force the native racial group out of the homeland that was built and maintained by their ancestors. This is literally advocating genocide. Does the media report on this? No, absolutely not.
A few days ago, Sarah wrote an article whining about how there are too many white people in the indie music scene.
It was an early Spring morning, the soft yellow light crept through dusty floral curtains as the young white lady arose from her upcycled bed, tenderly, ready to embody Stuart Murdoch’s archetype of an ethereal indie darling. “We are open to Eve’s nationality (e.g. British, French, Australian),” read Murdoch’s casting call for the lead character in the Belle & Sebastian bandleader’s blindingly white film, God Help the Girl. One does not imagine he meant the native Aboriginal population of Australia when envisioning his perfect leading lady; the cast is entirely white.
As a lover of Belle and Sebastian, I was disappointed, though certainly not surprised. Belle and Sebastian’s work is steeped in Whiteness; God Help the Girl merely underscores this. The film itself is an egregious mess that romanticizes a woman’s struggles with an eating disorder for the sake of Murdoch’s self-promotion. The optimistic, happy-go-lucky and painstakingly adorable aesthetic evidenced in every character he created is founded in Whiteness. Whiteness is beauty; Whiteness is what gives the character the ability to dream of fostering a career in music; Whiteness is what enables the audience to empathize with Eve’s character. A recurring filler in the film was a fictitious radio show where two men try to decipher what “real” indie is and every band mentioned is white, enforcing the film’s aspirational Whiteness. While Belle and Sebastian aren’t the only examples of perpetuating Whiteness through indie rock, this movie serves as a microcosmic view of what is wrought by racial exclusivity that is omnipresent in indie rock.
In indie rock, white is the norm. While indie rock and the DIY underground, historically, have been proud to disassociate themselves from popular culture, there is no divorcing a predominantly white scene from systemic ideals ingrained in white Western culture. That status quo creates a barrier in terms of both the sanctioned participation of artists of color and the amount of respect afforded them, all of which sets people of color up to forever be seen as interlopers and outsiders. Whiteness is the very ideal for which art is made in Western culture, be it the cinema of Wes Anderson or, say, the artists on Merge Records.
What substantiates this are the microaggressions, as well as overt and covert expressions of racism, that happen as a result of those systemically held ideals. Some may take the success of artists of color as threat to their space or scene. White art is deemed more worthy of respect, and so white audiences respond to it positively—it is set up for success. It’s evidenced the last week of news: be it the insidious petition urging Glastonbury to drop Kanye West in favor of a “rock band” (read: a white artist), or the repeated co-option of Indian and Desi pop culture by Major Lazer going unremarked upon. White art additionally dilutes and flattens aspects of other cultures’ music that it adopts in the process of making them more “accessible” for those whose curiosity does not extend beyond the parameters of Europe and North America. White “ambassadors” decide what parts of these musics of cultures get to filter through based on white notions of what is good, or real or what ethnomusical practices appeal to an American sense of authenticity (see also: Diplo).
Artists, labels and producers are not the only ones complicit in perpetuating this, though. It’s successful music publications—Pitchfork included—who have celebrated Vampire Weekend and Dirty Projectors’ use of attenuated ‘afro’ elements, calling the latter’s music “idiosyncratic” and saying the former owes thanks to Paul Simon, the evident creator of African music. White musicians seemingly can have it all: their almost impenetrable music scenes as well as their bastardization of most any other cultures. The root work by artists of color effectively disappears.
I can count on one hand the prominent performers in the independent scene that look like me:M.I.A., Himanshu Suri (Heems and Das Racist), Dapwell (Das Racist) and Natasha Khan (Bat For Lashes). Of those four people, Heems and M.I.A. root their work in rap, put their Desi heritage and brown skin on blast, curve balling their outspoken resistance back to critics with a middle finger. Whether it’s Arulpragasam’s observation of “Some people see planes/ Some people see drones/ Some people see a doom/ And some people see domes” on “CanSeeCanDo” or Suri’s ironic chanting of “USA! USA! USA!” on Eat Pray Thug’s “Al Q8a”. They illuminate political issues that concern and affect them, which is what resonates so intensely with brown fans of their music.
The price of being outspoken about race–the price of speaking their truth—for Heems or Dap, for M.I.A., is much higher than it is for any white musicians with a message, be it Kathleen Hanna or Kim Gordon’s mass appeal white feminism or Bono, whose career is foundationally built on his white savior complex. Heems’ work (both solo and with Das Racist) explores racial problems in both American and Asian society with a distinctly satirical slant, but the label of “joke rap” is one that has become difficult to escape, and one that invalidates and writes off the truth of their experience as Asian Americans. M.I.A. prefers to take a route that relies less on humor and blunty screams about her problems with both the West and Sri Lanka. The often casual dismissal of her politics ultimately results in her having to scream even louder. M.I.A. or Heems’ assertion of their racial identities and experiences, becomes, at best, inconvenient, and often plays as badly in the underground as it does in the mainstream.
Intellectual delineations associated with race make for a lack of serious discussion here: White people accept Kathleen Hanna’s branch of feminism though it has often and primarily benefitted other white women, and stand by her in solidarity as she praises icons of White aspiration like Miley Cyrus and Taylor Swift. While Hanna has, historically, played with sarcasm and irony in her lyrics, her work has never been derided as a joke, her lyrical critiques have been taken as just that. M.I.A. and Heems, however, are often subject to bad press for this same approach–press that paints them as attention-seeking and caustic. The feel-good feminism of white women earns infinitely more respect in both the artistic and ‘real’ world as evidenced by their prominence and visibility; making art about your experience of racism is seemingly much less acceptable, cool or “punk”.
It’s difficult not to be deterred and alienated by the overwhelming Whiteness of it all, especially when as a person of color, Western society flat out resists the witness of your life. However, it’s important to seize and act on precedents being set by the likes of Heems and M.I.A., paving a way that makes it easier for new artists of color to follow suit and make their mark. Whiteness is a mark of exclusivity that must be broken; to have masses of talent ignored in favor of a select few is not acceptable. Visibility of people of color in independent music is absolutely paramount for the genre to evolve and truly represent those cast away from the scene for too long.
Seriously, this is getting so fucking annoying. Are white people not allowed to have ANYTHING? Imagine if someone said that rap or soul music was too black and demanded that more white people should be given shots. There would be outrage and rightfully so.
She demands that things should be changed to suit her racial tastes, when the obvious solution is for her to instead go to India or (if she doesn’t want to go there), some other country where she isn’t surrounded by the white people she hates so much.
Thankfully enough, she finally came to the attention of people who don’t feel the need to cater to her demands. The US based Neo-Nazi site, the Dailystormer found out about this woman and decided to troll the fuck out of her on twitter. While some of the things they said were quite cruel (and I’m not going to repeat them here) and it’s not the sort of thing I’d do myself, I will say that I feel absolutely no sympathy for her whatsoever simply because she showed herself to be every bit as racist towards white people, as the very worst of Nazis are towards non-whites. What she got was karma, as far as I’m concerned.
Here are three links (in order from earliest to most recent) which summarise what happened between Sarah and the Dailystormer from the Dailystormer’s point of view (NSFW). The language might not be the most tasteful, and I don’t think it’s right to insult Indians (many of whom I count among my friends) in general, but ultimately, their arguments about why they went after her make sense to me.
The abuse she endured was so severe that’s she’s had to restrict her Facebook page, change her twitter username several times in the hopes of not being recognised, and cry like a baby about the big bad Nazis “stalking her” to the twitter (and possibly also legal) authorities.
This of course is standard affair with anti-whites. They demonise the white race relentlessly. White people (apart from the usual cohort of brainwashed self-hating useful idiots) stand up for themselves and tell these anti-whites what they think of them. The anti-whites cry about how they’re getting harassed by “white supremacists”. Often the harassment is just white people voicing their outrage. Sometimes it’s cruel insults. occasionally, the anti-white creates a fake username and sends a death threat to themselves. The media gets a hold of the fake death threat, says it’s real and that there are 1000s more just like it. Anti-whites use the fake death threat as an excuse to demand more hate speech laws under the guise of protecting people from death treats when in reality, they just want to silence dissent, and mean words that hurt their feelings.
Remember this particular incident next time you hear someone whining about receiving racial harassment on Social Media. While I’m sure there are genuine cases of people being abused unfairly (which I condemn wholeheartedly) , I’m sure there are plenty more Sarah Sahim’s out there who bring it all on themselves by attacking first. I think people should always investigate the backstory of the complainer before making a judgement.