The “Black Beethoven” Hoax

Morgoth’s Review
June 16, 2015


One of the most commonly used tactics of Cultural Marxists is to throw an idea or accusation or blatant lie at the European and then sit back and watch as the hapless European tries to untangle themselves from the web of deceit, it doesn’t matter how ludicrous or dishonest the assertion is, what matters is that the European, the white person, has to reluctantly argue a counter case. In the case of the lie that Beethoven was of African descent, that he was black, the ”Progressive” knows that if the European argues back too stridently they can always shrug it off and say ”Yeah, but what does it matter? are you racist?”. Which is itself merely another trap set for the white person.

The idea Beethoven was black was first popularized by a mixed race, Jamaican/ white? man called called Joel Augustus Rogers who spent his entire life trying to crow bar Africans, meaning Negros not Arabs, into prominent positions in history. According to Rogers Aesop and Hannibal were African, not from North African stock, but Negro. Rogers does not produce a shred of evidence to support his claim that Beethoven was black, the assertion is based on this:

Beethoven’s family, by way of his mother, traced its roots to Flanders, which was for sometime under Spanish monarchical rule, and because Spain maintained a longstanding historical connection to North Africa through the Moors, somehow a single germ of blackness trickled down to our beloved Ludwig.

Over the last few weeks the Liberal press have gleefully reported yet another assault upon the ethnic identity of Beethoven, this time coming from a new groupcalled “Beethoven was African” you might well think they would have come up with some DNA evidence or perhaps a quote from the great man himself offering a new piece of proof, but you would be wrong. Jettisoning any semblance of scientific logic or method whatsoever this new group of African chancers have released an album bastardizing Beethoven’s masterful symphonies. According to their narrative, you can tell Beethoven was African because of the prolific use of ” African polyrhythmics” and thus they being actual Africans and playing Beethoven in an African manner, we can finally enjoy the master’s works in their true, African, form. This is an example of what they mean:

And this is the “fake” Beethoven suppressed by “Euro-Centrism”

Leaving aside the non existent scientific, genealogical or musical arguments for Beethoven’s Blackness, this argument becomes even more untenable when we take into account the social implications of Beethoven being African, which, let us not forget, no contemporaries ever mentioned, we must also take into consideration that the IQ of Sub Saharan Africa is between 59 and 70  while the estimates for Beethoven’s IQ tend to sit around the 165! mark. This puts Beethoven at the extreme edge of the European Bell Curve and well into “Genius” level intelligence. So according to this argument, not only was Beethoven an African, he was also the most intelligent African to have ever walked the earth. However, it gets even more dire for the black Beethoven argument when we consider that the Europe of the 19th century was not exactly the “diverse” and “tolerant.”


Europe we all love and enjoy today, indeed, and according to the Liberals, the few Africans which were tolerated in Europe were mainly to be seen in zoos.

The achievements of Africans and their contribution to “humanity” has been, to put it politely, very modest. So we can understand why they would want to “culturally appropriate” a great man from another race, though hijacking Beethoven is  certainly overkill. But what is to be gained from the usual suspects who run the media exposing the general public to this ridiculous hoax? it isn’t particularly complicated. The assault comes in from two directions. Firstly, Beethoven, unlike the far more controversial Wagner, is easily palatable, historically if not culturally, to a modern Liberal audience, he stands along with Da Vinci as a ‘cool’ figure and exemplary cultural icon, it says enough that a Globalist racket such as the EU has “The Ninth” as its anthem. But that is precisely the problem, it means having Europeans as giants of human accomplishment and beauty, when that is the last thing the Globalist elite want to promote. The second reason  is to undermine what Europeans think of as spiritually theirs. Even modern Europeans who are unlikely ever to listen to Beethoven know that they have a tradition, that their people have scaled the heights, not just of the physical world, but of the human, that is to say, European, their, souls. This is what our enemies want to take away from us. They hate us that much!

In the end I never had to click on sites full of gyrating Africans to disprove this ludicrous pile of hateful gibberish, and neither does any other European. All I had to do was listen to his soaring exploration of our inner being to know he was one of my own people, speaking to my own people.