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.

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.