A few interesting tidbits on the American music industry

It is interesting to see how a massive industry like the music industry in America can be molded and shaped with specific ideas and a specific endpoint in mind that is completely under the surface and invisible to anyone who purports to be a fan of it.  When you pull back the curtain, and see the aims that go into songwriting and how they try and shape the mind and culture, it is disturbing.

I am nearly complete E. Michael Jones’ The Jewish Revolutionary Spirit And Its Impact on World History.  It is long, over 1000 pages, but it is a very interesting read.  One section in particular touches revolution in music and how it opened the door to the sexual liberation movement, civil rights, and even had ties to Communism.  Given the length of some of the quotes below I will keep this portion short, but the basic premise is that there is a lot of evidence that prominent Jews, who were disproportionately represented in Bolshevism and kept it going, commandeered folk music in America to their own ends.

Alan Lomax implemented the changed party line by discovering the leading lights of the first generation of folk singers, Josh White, Burl Ives, Woody Gurthrie, Pete Seeger, and Leadbelly, fostering their careers by guiding them through the political eddies of Washington and New York society, “teaching them songs, socializing with them and serving as their intellectual guide” and ensuring their “unflagging commitment to left-wing ideology.”  Lomax was the ideal promoter, content to work behind the scenes.  By the 1940s, “the urban folk singers he had encouraged and who shared his worldview were ready to make a substantial imprint on American musical life, on the left-wing cultural scene, as well as on the national stage.”  It is not an exaggeration to say that Alan Lomax created American folk music as we know it today.  He certainly created it as it was known from 1940, when the radical choruses waned, until 1956, when the Lomax group of folksingers fell apart because of disillusionment with Khrushchev’s denunciation of Stalin and suppression of the Hungarian revolt.

Wealthy Jews did the same to African-Americans with jazz and you still see it to this day in the rap industry.  Who becomes big, and why, have nothing to do with actual talent.  Sure, some have some talent, but the messages in the songs and the pacts these artists make to ensure fame are much darker and more sinister than anyone thinks.  Think, selling your soul to the devil level sinister.  That is a topic for another time but a nice little snippet in the video below if you’re interested in going down that rabbit hole.

With the underpinning of folk music essentially controlled and run by prominent Communist Jews, it makes the Bob Dylan connection more interesting.  This essay by Miles Mathis is fantastic and goes into great detail on Bob Dylan and bridges the E. Michael Jones chapter with the Miles Mathis section below connecting Woody Guthrie and Bob Dylan.  He is not the man you thought he was.  His image was completely fabricated from the ground up.  He was not some regular old country boy from Minnesota that organically blew up.  Bob Dylan was born Robert Zimmerman to a prominent Jewish family in Minnesota with ties to the Rockefellers and Rothschilds.  Nothing about his rise was organic.  It was all orchestrated.  The devil is in the details.  Is it that surprising he uses popular culture in forms like music to influence?

We see more red flags early on, when in 1961, at age 20, Dylan scored a review in the New York Times.  As with Ezra Pound’s meteoric rise in London in 1908, Dylan’s meteoric rise in New York in 1961simply isn’t believable. He had been playing in Greenwich Village for only about six months, had no original material, hadn’t written any of his great early songs yet, and somehow the New York Times does a review of him? He was the opening act for the Greenbriar Boys at Gerde’s Folk City.  There probably weren’t ten people in the audience. So let’s ask the question begged. Who wrote the review?  Robert Shelton, who was really Robert Shapiro, from another family of wealthy Jews. Who was booking Gerde’s at the time? Charlie Rothschild. Does that name ring a bell? Do you think he might be Jewish also? Wealthy family? Also remember who is behind the New York Times. The Sulzberger family, extremely wealthy Jews who also founded the New York Stock Exchange. Even before the New York Times and all other media were taken over by the CIA in the 1950’s, that paper had been controlled by extremely vested interests, to say the least.  So clearly, someone had a plan for Dylan. Or, we should say, he was the front man for some operation.  We will call it Operation Rolling Stone.

We know Intelligence was running all sorts of secret operations in the 1960’s. Many of them have since been partially de-classified, like Operation Mockingbird, Operation Bluebird, Operation Chaos, MKULTRA, and many many more. But there appears to have been an even larger, more fundamental Operation beneath all of them. This was Operation Rolling Stone.  It was the promotion of change in all forms. To what end? The promotion of trade. The Jews and Gentiles that would run the 20th century were masters of trade. They were money lenders and money changers and money makers. These families had always been very good at making money, but in the 20th century they discovered a way to accelerate this money making beyond even their own dreams. They discovered that accelerated trade depended directly on accelerated change. The more change of any kind they could introduce into society, the more money they would make. This is simply because change can always be accompanied with new products. New products = new wealth. More products = more wealth. Therefore, the fundamental and underlying Operation of the 20th century has been CHANGE.

This was revolutionary in every way, since humans don’t really like change. Like cats and all other animals, they prefer things to stay as they are. Living creatures tend to equate change with discomfort.  So to promote change was to go against human nature. It wasn’t something that would happen on its own. It had to be manufactured and constantly sold.

It was revolutionary in another way, since it went against all tradition. Tradition had always taught that change was something to be avoided. All the major religions sought balance and harmony, neither of which could be maintained in times of rapid change.

And a little further down:

Robert Heinlein cryptically suggested the same thing as far back as 1952, in his story The Rolling Stones. It is about a family in search of adventure and money.

So the Rolling Stone meme was a creation of Intelligence. It was likely the title of their biggest and longest running Operation. In this way, it linked Dylan, the Rolling Stones, and the magazine. All were fronts for British/US intelligence. Their prime directive was the creation of rapid change.  Do you think it is a coincidence that one of Dylan’s most famous songs is “The times, they are a’changin”? Yes, they were and are, but who was changin’ them and why? Let’s look more closely at the lyrics.

Come writers and critics

Who prophesy with your pen

And keep your eyes wide

The chance won’t come again
And don’t speak too soon
For the wheel’s still in spin
And there’s no tellin’ who
That it’s namin’
Curious. Dylan is telling writers and critics not to speak too soon. In other words, to keep quiet. To go with it. This is curious because a lot of the change going on in the 1960’s wasn’t for the better.  These people conspicuously tied themselves to the civil rights movement—which was the positive change happening at the time; but far bigger things were going on which we now can see were negative: the rise of Intelligence, the rise of the corporate media, the rise of the police state, the continued rise of the war economy, and the permanent entrenchment of a secret government. And, we can now add to that the permanent acceleration of society, which would create both huge sums of new wealth and the complete dissolution of culture. Also curious are the lines “And there’s no tellin’ who that it’s namin’”. The songwriter is giving us a bit of a clue there, telling us there are unnamed people behind the spinning wheel. With very little digging, we have seen those names come up already: Rockefeller, Rothschild, Sulzberger, etc.
This is also curious:
Come senators, congressmen
Please heed the call
Don’t stand in the doorway
Don’t block up the hall
For he that gets hurt
Will be he who has stalled
Senators are being told that they will get hurt if they stand in the way of this change. That’s not really a progressive sentiment in a Republic or Democracy, is it? Congressmen are supposed to be representatives of the people, and these representatives are being threatened here. Why does anyone think this song is progressive?
Your sons and your daughters
Are beyond your command
Your old road is
Rapidly agin’
Please get out of the new one
If you can’t lend your hand
This is no better. It is fascism posing as progressive politics. If your sons and daughters are no longer your charges, who are they the charges of? That’s right, the State. The financiers want control of your kids, because they can then sell them things more easily and directly. That is precisely what has happened. Kids are now raised by the corporate media, to the benefit of no one but the billionaires and trillionaires.
The line it is drawn
The curse it is cast
The curse it is cast? What does that mean? How could positive change be a curse? If Dylan is just talking about civil rights here, as is the common interpretation, how is any curse being cast? Ask yourself that.

The order is

Rapidly fadin’

And the first one now

Will later be last

The old order is rapidly fading. What was the old order? The aristocracy. In the 20th century, we have seen the aristocracy replaced by the financiers as the controllers of society. The Jews, who were formerly last, will be first, and the aristocrats will now be last. The old houses will be pulled down and replaced by new mansions. These lines are usually read as Biblical references, as in the meek will inherit the Earth. But that hasn’t happened, has it? No, because that was never the plan. That isn’t what these lyrics mean. No one ever gave a damn about the meek. The same can be said of Lennon’s song Imagine, which is commonly misread as progressive. It is beautifully arranged and performed, which makes it so seductive, but it isn’t progressive at all.

Imagine there’s no heaven

It’s easy if you try

No hell below us

Above us only sky

Imagine all the people

Living for today…

Sounds great on a cursory reading, but if you read it in context of recent history, it becomes far more sinister. As I show in my paper on Theosophy, the financiers have been trying to destroy all religions in order to co-opt their tithe. If the religions are gone, you have no one to go to but your government. The government becomes your priest and confessor, your father, brother, sister and mother, and all your alms go to it.

Imagine there’s no countries

It isn’t hard to do

Nothing to kill or die for

And no religion too

Imagine all the people

Living life in peace…

No countries. Does New World Order mean anything to you? Without countries, there are no laws except the laws the financiers impose on you. For them, anything goes. That is precisely what we have seen in the past 50 years, and especially since the 1990’s, when NAFTA and GATT gutted all local laws in favor of corporate rapine.

Imagine no possessions

I wonder if you can

I can. After they take all your possessions, you are left with none. That’s what we’ve seen in the past decades, as the superrich have sucked the middle and lower classes dry with various grand thefts like LIBOR, quantitative easing, corporate bailouts, and a raft of others. And you don’t even possess your privacy anymore, since they are spying on you all the time, with satellites, appliances, street cameras, web snooping, illegal phone tapping, open emails, and so on.

What’s the point of all this?  It is to show how the evil one uses art, music, culture, pleasing sounds, to influence your thoughts and actions.  This isn’t an attack on the Jews as a people.  You can make a good case that they are more susceptible because they lack Logos in having denied Jesus Christ.  But they aren’t the ultimate enemy as so many fools will spew over and over again.  No.  The enemy is Satan.  He uses willing individuals, often times Jews, but definitely not exclusively, to attain his ends.  What does the example above in using the American music industry do?  It enacts revolution and change.  The call to break up nations, one world government.  As mentioned above, change is a huge moneymaker.  Whether that comes in the form of capitalism or communism what does it do?  As with all of the evil one’s deceptions, the entire point is TO PULL YOU AWAY FROM JESUS CHRIST.  Whether that is in the form of people worshipping money, or focused on revolution, or whatever else, the entire point is to pull you away from the Good, the Beautiful, and the True.

Hopefully the above snippets, even if you are not to the point yet where you realize it all boils down to good vs evil, it will get you wondering and thinking why and how so many things we assumed were true were really manufactured or made to look organic but in fact had underpinnings in government intelligence operations or wealthy financiers.  Start there.  Or the moon landing.  Or any of the other topics we’ll broach over the next few months.  Eventually, if you are honest with yourself, you will see there is a greater evil at work, and once you can get there, you will see that there is only one way to combat that evil.

Bach – Mass in B Minor performed in Notre Dame de Paris

One of music’s greatest achievements played in one of the West’s most prized locations.  Christianity inspired both.  Here’s one way the piece was described:

The Mass was described in the 19th century by the editor Hans Georg Nägeli as “The Announcement of the Greatest Musical Work of All Times and All People” (“Ankündigung des größten musikalischen Kunstwerkes aller Zeiten und Völker”).[41]

Update: Well, they took down the one performed in Notre Dame.  Censoring seemingly everything about Notre Dame hard.  Even classical music.  Awesome.  Here’s another version of the same piece.  Unfortunately not the same venue.

Beethoven: 9th Symphony, 4th Movement

One of the most famous pieces of music of all time; perhaps the crowning achievement of all music and a crown jewel of Western culture.  I am easily moved to tears every time I listen to it.  Check out this version, sung by 10,000 Japanese after the 2011 earthquake that rocked their nation.  The Japanese are a strong, proud, resilient people.  One of my favorite versions.

O Freunde, nicht diese Töne!
Sondern laßt uns angenehmere anstimmen,
und freudenvollere.

Oh friends, not these sounds!
Let us instead strike up more pleasing
and more joyful ones!

Freude!
Freude!

Joy!
Joy!

Freude, schöner Götterfunken
Tochter aus Elysium,
Wir betreten feuertrunken,
Himmlische, dein Heiligtum!
Deine Zauber binden wieder
Was die Mode streng geteilt;
Alle Menschen werden Brüder,
Wo dein sanfter Flügel weilt.

Joy, beautiful spark of divinity,
Daughter from Elysium,
We enter, burning with fervour,
heavenly being, your sanctuary!
Your magic brings together
what custom has sternly divided.
All men shall become brothers,
wherever your gentle wings hover.

Wem der große Wurf gelungen,
Eines Freundes Freund zu sein;
Wer ein holdes Weib errungen,
Mische seinen Jubel ein!
Ja, wer auch nur eine Seele
Sein nennt auf dem Erdenrund!
Und wer’s nie gekonnt, der stehle
Weinend sich aus diesem Bund!

Whoever has been lucky enough
to become a friend to a friend,
Whoever has found a beloved wife,
let him join our songs of praise!
Yes, and anyone who can call one soul
his own on this earth!
Any who cannot, let them slink away
from this gathering in tears!

Freude trinken alle Wesen
An den Brüsten der Natur;
Alle Guten, alle Bösen
Folgen ihrer Rosenspur.
Küsse gab sie uns und Reben,
Einen Freund, geprüft im Tod;
Wollust ward dem Wurm gegeben,
Und der Cherub steht vor Gott.

Every creature drinks in joy
at nature’s breast;
Good and Evil alike
follow her trail of roses.
She gives us kisses and wine,
a true friend, even in death;
Even the worm was given desire,
and the cherub stands before God.

Froh, wie seine Sonnen fliegen
Durch des Himmels prächt’gen Plan,
Laufet, Brüder, eure Bahn,
Freudig, wie ein Held zum Siegen.

Gladly, just as His suns hurtle
through the glorious universe,
So you, brothers, should run your course,
joyfully, like a conquering hero.

Seid umschlungen, Millionen!
Diesen Kuß der ganzen Welt!
Brüder, über’m Sternenzelt
Muß ein lieber Vater wohnen.

Ihr stürzt nieder, Millionen?
Ahnest du den Schöpfer, Welt?
Such’ ihn über’m Sternenzelt!
Über Sternen muß er wohnen.

Be embraced, you millions!
This kiss is for the whole world!
Brothers, above the canopy of stars
must dwell a loving father.

Do you bow down before Him, you millions?
Do you sense your Creator, O world?
Seek Him above the canopy of stars!
He must dwell beyond the stars.

Allegri – Miserere mei, Deus

One of the prettiest pieces of music you will ever hear in your life.  Truly inspired from on high.

From Infogalactic:

It was the last of twelve falsobordone Miserere settings composed and chanted at the service since 1514 and is the most popular: at some point, it became forbidden to transcribe the music and it was allowed to be performed only at those particular services, thus adding to the mystery surrounding it. Writing it down or performing it elsewhere was punishable by excommunication.[1] The setting that escaped from the Vatican is actually a conflation of verses set by Gregorio Allegri around 1638 and Tommaso Bai (also spelled “Baj”; 1650–1718) in 1714.

Three authorized copies of the work were distributed prior to 1770: to the Holy Roman EmperorLeopold I; to the King of Portugal; and to Padre (Giovanni Battista) Martini.[1] However, none of them succeeded in capturing the beauty of the Miserereas performed annually in the Sistine Chapel. According to the popular story (backed up by family letters), the fourteen-year-old Mozart was visiting Rome, when he first heard the piece during the Wednesday service. Later that day, he wrote it down entirely from memory, returning to the Chapel that Friday to make minor corrections. Less than three months after hearing the song and transcribing it, Mozart had gained fame for the work and was summoned to Rome by Pope Clement XIV, only instead of excommunicating the boy, the Pope showered praises on him for his feat of musical genius and awarded him the Chivalric Order of the Golden Spur.[2] Some time during his travels, he met the British historian Charles Burney, who obtained the piece from him and took it to London, where it was published in 1771. The work was also transcribed by Felix Mendelssohn in 1831 and Franz Liszt, and various other 18th and 19th century sources survive. Since the lifting of the ban, Allegri’s Miserere has become one of the most popular a cappella choral works now performed.[citation needed]

The original ornamentation that made the work famous were Renaissance techniques that preceded the composition itself, and it was these techniques that were closely guarded by the Vatican. Few written sources (not even Burney’s) showed the ornamentation, and it was this that created the legend of the work’s mystery. However, the Roman priest Pietro Alfieri published an edition in 1840 with the intent of preserving the performance practice of the Sistine choir in the Allegri and Bai compositions, including ornamentation.

Sistina-interno

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