March 4, 2017
If like me, you’re frequently subjected to commercial radio, or worse still, BBC Radio 1, then it’s extremely likely that you’ve also been subjected to the wobbly warbler known simply as ”Adele”. Last year Adele was the third highest earning pop star on the planet raking in a cool $85 Million, Alt-Right icon Taylor Swift was number one with a boy-band number two. The fact that Taylor took the top slot is a sign that not all is lost, it tells us that there’s still a vast market for white beauty and a, in theory, traditional, gentle conservatism.
So, okay, fine, but why is Adele so popular? what is it she’s selling and why are so many(#not all!) western, white, women connecting with it?
Adele has found a rich vein, female heartache, loneliness, despair and anxiety, and she mines that vein relentlessly. Adele’s songs are all constructed similarly, initial pain and hurt moving into a crescendo of power ballad laden agony, and you too will feel that agony as your teeth shatter to the power of her vocals.
Take for example, one of her most popular hits ”Set fire to the rain”:
And if that’s not depressing enough, one of Adele’s more recent hits ”Hello”, edging toward 2 Billion(!) views on YouTube, features an African man as Adele’s ex. Meaning that topping off all of Adele’s other sorrows, she is now what some people might call a ”Mudshark”.
But diversity box-ticking aside, there’s obviously a massive market for Adele’s female orientated misery, most of whom will be white females.
As one online news outlet explains:
SINGING sensation Adele is back with a bang with new single ‘Hello’, which has been warmly welcomed by women who enjoy sitting alone with some wine and their own tears.
The new album, which the singer described as a ‘make up album’ rather than a break up album, had left fans worried it would contain next to no suitable songs for crying to after having too many glasses of wine.
“I was a bit worried, but once I heard ‘Hello’ I was bawling after about 30 seconds, and that’s without touching any alcohol or thinking of my prick of an ex,” confirmed huge Adele fan Alannah Higgins.
Many ardent Adele lovers have cancelled any plans they may have had for this Friday evening, favouring instead to surround themselves with thoughts of mistakes, tough break ups, failed relationships, and a glass of Savignon Blanc while playing ‘Hello’ on repeat.
“I’ve waited for this song for a good few months now, so I’ve a build up of sorrowful thoughts, and I popped round to Lidl last night and bought a couple of bottles after hearing the song would be released this morning,” explained serial Adele listener Mary Hughes.
It could of course be argued that Adele is simply filling the cultural niche which was occupied by Celine Dion or Whitney Houston a generation ago, that of the howling diva. And while there’s certainly some truth to that, Celine Dion’s most famous hit ‘‘My Heart Will Go On” which featured in the Titanic movie, was actually a rather sweet love song about two people who genuinely love each other but have become separated from one another in a physical sense. Celine longs for the day her man will travel back across the ocean to embrace her once again.
In 2017 Adele’s brand of power sadness makes Celine Dion’s bittersweet romantic ditties seem incredibly mawkish, sentimental and old fashioned. Adele’s music depicts an emotional wasteland inhabited by the humped and dumped, the finished via Facebook messenger and text, the cheated on, abused and betrayed wandering the broken heart dystopia of revenge porn and dating sites. It’s the chart topping pop song equivalent to Mad Max 2.
The more pertinent question to ask is not ”why is Adele so popular?” but rather, ”why does the well of female gloom run so deep?”.
After all, hasn’t ”The Modern Woman” got it all?. The modern white woman in Europe or North America, today, inhabits a culture and society which places hardly any restrictions on her behaviour at all! and yet alcoholism in women is at an all time high, women are beset with mental health issues: 20% of women in Britain are clinically depressed, they’re on pills for their nerves, pills for their insomnia, pills for their ADHD, it’s a veritable boom time for the pharmaceutical market.
One report in The Daily Mail claims:
In what has become the ‘dark side of equality’, their drinking habits now resemble those of men, according to the study by the Organisation for Economic Co-operation and Development.One in five woman graduates regularly drink ‘hazardously’ compared with one in ten for those with lower levels of education.
The Jewish led Feminist movement threw European women into the world of men while proclaiming ”You are free now! we have freed you from oppression, be happy!”. It’s similar to snatching a swan from its lake and ”liberating” it by dumping it in the middle of an arid desert. The swan wanders the void and ponders ”I’m free, but I’m unhappy, why?”.
The overly dramatic tone and bombast of Adele’s songs offer something of an ”out” to this confusion. Adele’s message is not just one of being used and thrown away like trash, it’s also one of stoicism, she’s saying/screaming ”Yes, it’s tough, but you will become stronger for it, you’re a strong woman! you will get through this!”.
But this isn’t really a solution, it gives succour to atomized women individually, but does nothing to address the wider problem of our women being thoroughly miserable and borderline mad in post-modernity.
Almost all pop culture does this, unless it’s a liberal cause celebre, such as inviting Muslims to live with us by the million, pop culture will zoom in at the individual level, not the group.
So each woman, individually, believes she’s in her own personal struggle and all will be well in the end, but when we zoom out and look at this as a group issue we see millions of women thinking the exact same thing. However, pop cultural icons cannot address these issues because once they begin to comment on wider societal problems they become ”political” and the solutions to this particular problem do not belong within the ”liberal” zone of thought and our masters are more than happy to sell out European women to a life of dead eyed promiscuity and loneliness as long as they stay true in their roles of indentured servitude to the Money Power.
As a genre the ”Power Ballad” is an interesting one, even though most of the songs are crap, because it points to a romanticism, it’s attempting to elevate the mundane into something more grandiose.
Every girl can be a princess and prince charming is always on his way with a magic kiss.
A few decades ago Julie, the girl from the supermarket checkout, would have the Eurythmics ”Miracle of Love” as her personal soundtrack to her ”courtship” with Dave, the local mechanic. The mundane became something more, the cheeky infatuation at the local pub became something epic, love, to be loved and have somebody love you back, the sheer wonder of it all!.
Adele inverts this and hands it back to the women of the current year. Grandiosity is used to conceal and elevate the humdrum lives of modern women, but the reality is that Julie is pulling up her knickers and heading out to catch the bus before Dave kicks her out, because he’s set to play Call Of Duty 7 Online later. And the ”lovemaking” was not much more than skinny-jeans wearing, Nu-Male Dave, trying to get Julie to agree to all the stuff he saw on the Jewish run porn channels.
Two bottles of wine and Adele’s new album is the solution, then Julie is no longer running for the bus to Sunderland in stained tights, she’s defiantly walking through rain in Manhattan, in slow-motion and expensively filmed black and white cinematography. Dave is a stubbly hunk driving off in an Aston Martin.
It was a grand drama played out between two strong and independent people…except it wasn’t.
Adele isn’t enough for our women, neither is the wine or the pills. It’s often pointed out that white women are the most vociferous opponents of our movement, of traditionalism and Nationalism, but, as Donald Trump said to the blacks, the question must be asked:
”What do you have to lose?”