There are a number of industries that survive solely upon white guilt: Penguin Classics, the SPCA, free range chicken farms, and the entire rubber bracelet market. Yet all of these pale in comparison to classical music, which has used white guilt to exist for over a century beyond its relevance.
Though white people do not actually listen to classical music, they like to believe that they are the type of people who would enjoy it. You can witness this first hand by going to any classical performance at your local symphony where you will see literally dozens of white couples who have paid upwards of $80 for the right to dress up and sit in a chair for hours reading every word in the program.
After leaving the concert hall, white people will immediately begin telling everyone they know about how much they loved the performance and how they plan to “go more often.” This is because white people see little to no value enjoying classical music without recognition from other white people. This can be seen first hand by looking at the plaques and bricks around all opera houses: they are covered in white person names.
If a white person starts talking to you about classical music, it’s essential that you tread very lightly. This is because white people are all petrified that they will be exposed as someone who has only a moderate understanding of classical music. When a white person encounters another white person who actually enjoys classical music (exceptionally rare), it is often considered to be one of the most traumatic experiences they can go through.
“Really? Beethoven’s 5th Symphony….that’s your favorite.”
“um, no, I mean…”
“You sure it’s not Pachebel’s Canon?”
“well, ah, I like that, ah, song”
“sigh, of course you do.”
Even the possibility of this conversation happening is enough to scare white people into attending up to (but no more than) two performances in any given classical season. Therefore it is essential that even if you possess a massive amount of knowledge about classical music, do not share it with a white person regardless of how much they profess to love it. It’s a recipe for disaster and shame.
As a defense mechanism against the possibility of being called out for a lack of familiarity with the early works of Antonin Dvorak, white people have started to list more contemporary composers as their favorites. Of course, the easiest way for them to do this is to choose composers with music that appears in independent films. Knowing these composers is almost a golden ticket into making white people think you are smart, but not TOO smart.
The first, of course, is Philip Glass. Not only does he have one of the best last names a white person can have, but he writes music used in smart documentaries. Thus combining multiple white passions into a single artist.
The second, and slightly more obscure, is Erik Satie. Composing at the end of the 19th century, Satie has risen to prominence among white people because his music has been sampled by popular musicians and featured in a number of independent films. Dropping this name at a dinner party will show that you are modern and post-modern at the same time. It is also a good idea to tell white people that your tastes in general are “modern and post-modern at the same time.” Don’t worry, you won’t have to explain it.
Note: Under no circumstances should you ever list John Williams or Danny Elfman as your favorite composer.
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