The Remarkable Case Of

Edgar Rice Burroughs’ Eyes

by

Dr. Anton Polarion

Concern for man himself and his fate must always form the chief interest…in order that the creations of our mind should be a blessing and not a curse for mankind.

–Albert Einstein

 

In 1953 a sci-fi novel was published by Arthur C. Clarke which he entitled ‘Childhood’s End.’ I read it only a couple years ago and while I don’t believe I got his point the story has haunted my imagination since then. In the novel he depicts a situation in which the first phase of evolution has flowered, and a second phase is about to begin out of the blown flower or the seed of the first.

Just after the end of WWII Clarke may well have believed than an old order of evolution had matured and a new one was beginning. His symbolism notwithstanding it is clear the evolution was not beginning a new phase, unless he knew something he wasn’t telling, but it is possible to view the post-war period as a culminating point in the historical continuum.

Writers are frequently more sensitive to such shifts than other people. Assuming that the historical continuum had at least transited its first phase, as I do, and was in fact beginning a new phase, which I only postulate, then it is possible to review the historical evolution of mankind and its various sub-special components as completed units. I intend to place Edgar Rice Burroughs in his place in that historical continuum.

Now let us by a feat of Wells/Einsteinian legerdemain roll the paper into a cylinder and step across the seam into that earlier phase of the historical continuum.

For tens of thousands of years the flow of the historical continuum appeared to be nearly as even and uninterrupted as the flow of the mighty Congo from the immense distance of Stanley Falls to the Stanley Pool.

Change there was but so slow as to cause barely a ripple until the accumulated changes resulted in the disruption of human consciousness that occurred in the Victorian Period.

Since then the historical continuum has been as turbulent as the series of rapids on the Congo below Stanley Pool.

THEN I SAW THE CONGO, CREEPING THROUGH THE BLACK,

CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.

Then along that riverbank

A thousand miles

Tattooed cannibals danced in file.

–Vachel Lindsay, The Congo

The French Revolution was important but that was mainly a political transition from the late feudal to the early modern. What we’re really concerned with is the challenge it gave to the psychology of man, that time when the Congo and the Jungle became a symbol of Man’s conscious and unconscious mind and his conscious mind cut through the darkness like a golden track. To put a convenient date on the psychological transition let’s put it at 1859 when Darwin’s

Origin of Species’ was published; nothing challenged the ancient mentality of Mankind more. It was then that the Congo crept North of the Equator to flow through the Euroamerican mind.

Darwin’s theories rent the mind of most men in two. Some like Edgar Rice Burroughs understood instantly but most resisted for decades while a hundred fifty years later the howl of disbelief can still be heard. The Semitic vision of the origin of man and the world as portrayed in Genesis became impossible for any reflective Westerner to believe. The hold of the ancient Semitic system of belief was so strong that exoteric scholars could not express their evolutionary views openly for fear of losing their jobs while having their lives ruined in what might risibly be termed ‘premature McCarthyism.’

Then I heard the boom of the blood-lust song

And a thigh bone beating on a tin-pan gong.

–Vachel Lindsay -The Congo

Nevertheless the brief period from 1859 to 1914 was one of the most exciting and productive periods of history.   The past had been or was being made intelligible to Western Man’s inquiring mind. As unpleasant as the fact may be to some people, modern understanding is solely the product of the mind of Western Man or Homo Sapiens III. Neither the African of HIS nor the sterile Semites nor the various sterile Mongolid races contributed one iota of understanding in this period, very little since and that only under the influence of the West.

While the Semitic Freud was delving into personal psychology his great rival, CG Jung, was exploring the development of human consciousness to open a psychological understanding of the mind of mankind in which the individual might be included and explained. In other words, he was placing the individual in the historical continuum. An esotericist of some note, it is to Jung and the school he founded that we are indebted for our understanding of all the phases of consciousness, their development and evolution.

At the same time that our increasing awareness allowed us to see clearly into the past for the first time, the pace of change was becoming so rapid that it was possible to project current trends into the near future. In conjunction with the rapid increase in scientific discoveries a futuristic or science fiction became possible.

In the popular mind the foundations for futuristic fiction were laid by the vastly underrated H.G. Wells.

Understanding the past, projections into the future and tremendous technological achievement, lent this period such great self-confidence that it was thought that anything was possible to the mind of man. The attitude was abruptly brought to an end in 1912; not by the First World War but rather by the unthinkable fact that Man’s mind had erred in thinking that it could build an unsinkable ship. When that great ship, the Titanic went down it took the pride of Western, which is to say human mind down with it.

The period of 1859 to 1914 was also one in which the absolute superiority of the ‘White race’ seemed not only apparent but real in fluorescent colors. In fact, White, or HSIII, superiority was acknowledged by all the people of the Earth, who were overawed by Western achievements. It was only after 1914 when the confidence of HSIII was shaken that the counter-attack became possible and success plausible. Even then this was an internal schism between the right people of the West and the wrong people of the Reds.

I have studied the notion of evolution of Dugald Warbaby in his essays ‘Tarzan Over Africa’ and ‘Tarzan Meets Mohammed.’ Based on his notion I would like to explain how the various sub-species are to be characterized during this first historical continuum.

The character of a sub-species is fixed from the moment of its mutation. Everything that it will ever be able to do it can envision at its inception; there is no evolution of ability within a sub-species its abilities unfold to its limits as its development progresses.

In you believe in Darwin’s concept of natural selection then you must believe that the various sub-species segregated themselves from the other sub-species on the basis of likeness. Further, following Darwin’s theory of natural selection so did various races form within a sub-species. Each race within a sub-species will by natural selection exclude all others who are not true to type until the race is uniform in appearance and psychology.

To use the African model: If one race is flat nosed and thick lipped then those characteristics will be valued. Any who do not conform to the ideal will be ejected from the race or killed.

If nearby thin lipped people with a bridged nose exist those two peoples will come into conflict with each other. The ensuing war between the physical and psychological types will be to the knife. In a word: genocide. Undisturbed by outside forces the battle will continue until either one race is exterminated or one or the other moves from the vicinity. This is what natural selection means. This is the history of Man. The notion of natural selection was also put into the words: survival of the fittest.

Thus HSI claimed sub-Saharan Africa for itself expelling the mutated HSII and possibly the Semites if they mutated at the same time . HSII migrated from the Mediterranean Basin and on into Western Europe. The Semites separated from HSI and HSII or were driven away migrating into the Arabian Peninsula, a backwater. HSIII when it mutated was either expelled from HSII or separated themselves to occupy the area near the Caspian Sea.

The English geneticist Bryan Sykes believes that the various Mongolid races mutated from HSIII a mere ten thousand years ago although this seems unlikely. The Mongolids like the Semites are also a sterile offshoot. They migrated across the steppes to the Eastern seaboard of Asia. Thus, following Darwin’s theory of natural selection when the traceable historical continuum becomes apparent one has HSI in Africa, HSII in Western Europe and HSIII in the Caspian area of Central Asia, the Semites occupying Arabia and the Mongolids in Eastern Asia.

The first confrontation between the sub-species in historical times came when a people of HS III derivation migrated to Mesopotamia. There they created a civilization which may have been influenced by an HSII population already in possession. Either HSIII alone or together with HSII, this people created the Sumerian Civilization.

 

From Sumer To The World Trade Center

 

In the present struggle in Eastern Europe the element of religious antagonism is the most important factor in the problem. The question originally one of race and government has become to a great extent one of religion. …Muslims…use the Sheriat, or law embracing or based upon the Cor-an and its commentaries, and this is declared by many persons in Western Europe to be utterly inapplicable to Christian subjects. Here, then, is the real difficulty; is Mohammedanism so plastic as to be adapted to the reforms which it is universally admitted…are required, or must it be eliminated altogether from Europe? If an affirmative answer be given to the latter proposition…there is no solution of the difficulty but a religious war, and such a war as the world has never yet seen.

–Mohammed and Mohammedanism.

Anonymous reviewer in the

Quarterly Review, January 1877

The answer has proven to be that Moslemism is not so plastic as to be adjusted to rational or Western psychology. Moslemism is an expression of the Semitic psychology. That psychology is particular to the Semitic sub-species. In the Darwinian sense it is part and parcel of natural selection. HSIII and the Semites are psychologically incompatible. That cannot be changed.

Now, the Semites could never have created a civilization on their own but the glitter of the HSIII Sumerian civilization drew them from their desert haunts much as the glitter of Western civilization has drawn the Semites from their desert oil fields today. Bear in mind that the Semitic character was set a hundred thousand years before Sumer and that no matter how circumstances may change their character cannot. Its stern limits are set by genetic evolution.

It is to be assumed that just as the Semites first infiltrated Western civilization then attacked and destroyed the symbol of Western supremacy, the World Trade Center in the Western capital of New York City, that they committed a similar outrage against Sumer five thousand years ago. Character, methods and tactics in a sub-species do not change; as it is it was and ever shall be.

If one analyzes Semitic methods and ethos which will have remained unchanged for the five thousand years of recorded history it will be readily seen what transpired in Sumer and why the Sumerian civilization was obliterated.

The main body of Semites undoubtedly blamed a militant minority for whatever crime was perpetrated against the Sumerians. The Semitic story of Cain and Abel may point the way to the nature of the dispute, just as the Sumerian story of Gilgamesh and Enkidu may present the Sumerian version of the quarrel. Believing they were dealing with an honorable people, rather than driving the Semites away, the Sumerians believed that the Semites were sincere and that they could get along with them. Thus, while palavering endlessly the Semites continued to infiltrate Sumer until they had sufficient numbers within and sufficient military power without to displace the Sumerians in their own land. ‘Ye shall live in houses that ye never built.’ As the Bible says.

Not having inherent scientific ability the Semites gradually replaced the scientific basis of Sumerian society with their own brand of fanatical ignorant religion.

Thus, the Semites appropriated Mesopotamia and Syria occupying the coasts of the Mediterranean while retaining Arabia. The deadly pall of Semitic ignorance settled over the Near East, or Western Asia, however you look at it. Contemporary Egyptians styled them ‘vile Asiatics.’

Over the centuries the Semites came into direct conflict with the Egyptians who, if I am right in the origins of the Libyans of Lower Egypt, were an HS II people. As empires grew larger and came into direct contact the Semitic empire of Assyria was able to conquer the HSIIs of Egypt in the seventh century BC. Thus, in the Darwinian struggle for supremacy the Egyptians were eliminated as a people. They have never recovered being now a remnant after a genocidal persecution of centuries. Their place has been taken by Semites.

As in Sumer the Semitic character immediately began to attack the scientific religious culture of Egypt in an attempt to destroy it while superimposing their own fanatical religious culture, the culture of ignorance.

The HSIII Persians ousted the Semitic Assyrians being in turn ousted by the HSIII Greeks who were replaced by the HSIII or possibly HSII Romans.

Now, following their sub-special manner a group or race of Semites, known in history as Jews, who had been displaced in an intra-sub-special conflict with the Assyrians in 586 BC, had been infiltrating the various kingdoms of the Mediterranean from Gaul to Egypt and Libya much as their ancestors had infiltrated Sumer. They followed the intolerant Semitic impulse by combating the religion of their host countries. They aggressively over turned altars and insulted the religion of these nations.

Unwilling and unable to assimilate themselves, as in the prototype of Sumer, they sought first to infiltrate and then to conquer. In the Roman case, much as in the Semitic attack on the World Trade Center, they made their move prematurely and had insufficiently infiltrated the enemy territory while having no military force without to complete conquest. In the resulting wars known to history as the Jewish Wars the Romans all but exterminated the Palestinian Jews while the Jews within the empire stood by helplessly.

In the ensuing syncretistic Semito-Christian religion the Semites acquired a disproportionate influence over the Greek scientific thought completely suppressing it. In keeping with the Semitic Sumerian tradition the Semito-Christians attacked all science and learning in an attempt to stultify the Greek or scientific influence in their attempt to impose the ignorance which was in keeping with their native intellect. The result in the West was what is know as the Dark Ages.

Then, in the seventh century AD an Arabian Semite by the name of Mohammed re-evaluated the situation to come up with a new and more determined attempt to impose Semitism on the world.

After Sumer, in the Jewish attempt of the conquest of HSII and HSIII, the Jews were so cranked out that in their pride they excluded all from their religion but their own small race of Semites. This created a situation which in a direct confrontation with the majority must always lose. Mohammed realized the error of exclusiveness rewriting the rules so that even forcible proselytization to his new Semitic religion was preferred.

Thus, by enrolling potentially unlimited auxiliaries under a religious banner he was able to augment the numbers of Semites so that there was a chance of conquering the world under the banner of ignorance.

Mohammed also undoubtedly realized that even though the Semites had gained a preponderant influence in the Semito-Christian religion that eventually the majority would reject the foreign Semitic influence. It was necessary then to impose Semitism on the majority by physical force. He thus organized the Semites into a military force capable of attacking the world.

The Arabs quickly overran North Africa while their converts the Moors entered Spain quickly conquering that nation. Without a pause they swept through the Pyrenees to penetrate deep into Europe where they stopped nearly at the gates of Paris from which they were driven back into Spain. The Spaniards then began the Reconquista which took them nearly a millennium to accomplish. Thus Europe barely escaped being impaled on the lance of ignorance.

Although it is generally believed that at the beginning of the Arab conquest a brilliant scientific civilization was created this notion is completely false. The Moslems rode over an existing HSIII Greek scientific culture which they immediately assaulted in much the same manner as that of the Semito-Christians. It took them about three hundred years to suppress the Greek scientific culture until today there is not one shred of scientific learning in Moslem lands. Instead they dynamite anything that challenges the ignorant bigoted Moslem view of religion.

From that first impulse to the present day the Semites have never ceased their worldwide attack on both the West and the East. What the Assyrians failed to do in Egypt, Mohammed’s fanatical Moslems have accomplished. With ceaseless tireless energy and will Moslems have sought to impose their ignorance on the world.

The situation in 1877 when the Russians, Poles and Austrians were driving the Moslems out of Central and Eastern Europe was essentially that of today. Whether you like it or not Milosevic was continuing and winning the war referred to by the prefacing quote in 1877. The reviewer in the Quarterly Review realized that one must drive the Moslems out or accept the stultification of the HSIII species. That is what Milosevic was doing.

There was some surcease for the West when the Slavs and Austrians succeeded in driving the Moslem power back into Asia at the end of the nineteenth century. However Moslems remained successfully active in Africa, India and the Far East.

It was only Western Science that provided the means to temporarily crush the Moslems and put them in their place. That is where matters stood when the first historical continuum ended in 1945.

Regaining courage and strength from their oil reserves the Semites once again following in their five thousand years practice began to infiltrate every country in the world while consolidating themselves in their core areas.

Whether the attack on the West in New York was premature or not remains to be seen in the response the West makes. If it follows the Sumerian model of toleration then it must lose this five thousand year battle with the forces of ignorance. If it follows the Roman model and destroys Mecca and Medina as the Romans were compelled to destroy Jerusalem, while either exterminating or confining the Moslems then civilization will survive at whatever cost. The Hitlerian solution is so extreme as to cause revulsion. However if we are truly a scientific people both in physics and psychology we do have the means although we probably lack the will to conquer. Perhaps that was the Sumerian problem, too much prosperity and comfort to imperil. Like them we will probably be too supine to assert our superiority. We should be able to manage pretty well if we assume the will the defeat the enemy. This battle will be fought as a test of wills. This is a colder war than the war with Communism.

This same sort of analysis can be applied to every sub-species on the planet; the potentialities and possibilities of each has become an established fact, their future actions can be forecast from their past history. I do not intend to go into each, but it should be clear that the former Chinese leader, Mao Ze Dong, was true to the Chinese sub-special type. No matter what the Chinese may say, Mao bared the Chinese soul.

 

Edgar Rice Burroughs Strides Into The Scene

 

The life of Edgar Rice Burroughs straddled the great 1914 division of this both terminal and seminal period from 1859 to 1945. His youth was lived in the shadow of the Little Big Horn where Custer died for our sins in 1876 the year after Burroughs was born. The Plains Indians were still being overrun in his youth while he himself participated in the last Indian battles against the Apaches in the Southwest. Even as the Indians were being defeated he saw the success of man’s attempt to fly, the introduction of the telephone and movies. Henry Ford introduced the Model T making a mass market auto industry a reality almost at the same time Burroughs sat down to begin his Tarzan stories. And then the Titanic sank.

Burroughs was a pulp fiction writer. I think it can be argued that the pulp fiction magazine originated with the Strand Magazine in England. Pulp fiction called for a different approach than literary fiction. Literary fiction is designed to appeal to refined, informed or cultured tastes while pulp fiction was designed as popular entertainment for the widest possible audience.

Thus, Literary authors have tended to look down on popular writers. However one result of universal literacy was that ‘common’ tastes prevailed over fine literature. Today almost no one can tell you who the American literary author William Dean Howells was or have even heard of him, yet you may be certain that he and his contemporaries thought his literary immortality was secured.

Ernest Poole won the first Pulitzer Prize for literature yet I doubt that even one person in a million could identify him. Booth Tarkington won two Pulitzer prizes which no one else has ever done yet the mention of his name draws blank stares. He wrote good stuff too which one hopes won’t be forgotten. ‘Seventeen’ was a real charmer.

Strangely, the great popular fiction writers are known not so much for themselves as for their creations. Thus, everyone knows Sherlock Holmes, but many would be stumped by the name Arthur Conan Doyle. You almost have to be a specialist to know who Bram Stoker was yet Dracula is a piece of furniture in everyone’s mind. Not one in an infinite number can identify Gaston LeRoux but all know the Phantom Of The Opera, his creation. Edgar Rice Burroughs’ name is fairly well known but not everyone can connect him to his universally known creation, Tarzan. Not even in his home town, Tarzana.

Burroughs came at the tail end of that crop of popular writers who have been the staple of twentieth century literature. He was too young to be a part of the Kipling, Wells, Haggard and Doyle scene although circumstances did make him a friend of the OZ creator, L. Frank Baum.

Even thought H.G. Wells was only six years his senior Well’s writing career began in the 1890s. He had been famous nearly twenty years before Burroughs put pen to paper. And yet Burroughs writing connects him to this pre-1914 literary scene as a sort of younger sibling; he belongs to this tradition. Nor is his creation, Tarzan, inferior in reputation to any other literary creation of the time with the exception of the archetype of the twentieth century, Bram Stoker’s Dracula.

Even then, many, if not most people don’t realize that there is not only one Tarzan novel but a series of them.

Edgar Rice Burroughs’ eyes had seen most of the seminal events of this productive pre-1914 period when he sat down to write. He was able to reflect on them all. Unlike his near contemporaries he did not create the era so much as recapitulate it. From 1914 to 1945 was pretty much a playing out of these earlier developments.

Darwin’s theory of evolution had created a defined racial hierarchy at the bottom of which was the Negro and at the top of which was the EuroAmerican White. In between were the Semites and Mongolids. This notion is reflected in Burroughs’ writing.

While it was believed that this was the order of evolution there was no scientific basis for proving what was apparent to the eyes.

The great disrupting discoveries in physics and psychology had already been made and were becoming popularized. Havelock Ellis, Krafft-Ebing and others were leading a sexual revolution; the Feminist Movement was in full tilt while in a few years the unthinkable would occur when Communism seized power in Russia in 1917 which made the post 1914 world so different while people were slow to understand the magnitude of the change. And then there was the introduction of the income tax which disturbed ERB so much in ‘Tarzan And The Ant Men.’

Amazingly Burroughs eyes were so acute he was able to understand and incorporate all these developments in the Tarzan novels without ever mentioning any by name. In his dedication to ‘entertainment’ he was able to write around, below, above and through these developments without letting any of them obtrude didactically into his stories. Therein lies, I think, the secret of his success. While H.G. Wells became a didactic preacher for his causes at the end of his career thereby dating himself; Burroughs sublimated his opinions while yet always coming down on the right side of the question. He cannot be considered a reactionary or even a conservative; he always understood the nature of the question and saw the correct viewpoint. Thus, he remains ‘modern’ or current.

Burroughs has been accused of ‘racism’ for his views on evolution but the accusation misses the point. Bear in mind the consequences of evolution and natural selection. To speculate on the nature of evolution and apply the results is not ‘racism.’ After all, not only did Burroughs have no trouble with evolution but he seems to have a well thought out notion of it which differs little from Darwin’s natural selection and seems to be closer to the more accurate scientific genetic explanation. One might call ERB a speculative evolutionist.

This is a remarkable achievement as in 1912 when he began to write, no academic could openly reject religion in favor of evolution without being expelled from the academic community. Even though they knew better they still proclaimed that evolutionary beliefs did not challenge religious opinions.

Burroughs, courageously one might say, disregards all religious considerations, writing about evolution as though it were an accepted and undeniable fact. Tarzan experiences every phase of evolution in his development. He was reared as a beast, consorted with the Africans, then considered the lowest form of humanity, and went directly to being a civilized EuroAmerican and then backtracked to become the chief of the Black Waziri then becoming the Great White Potentate of all Africa.

The significant point here is that Burroughs apparently considers the Negro as a distinct species. Rokoff, the Russian villain in ‘Son of Tarzan’, tells Jane that as her husband was born a beast so Jack, his son, will be placed amongst an African tribe to be reared in the evolutionary stage of the Negro, that is, between the apes and homo sapiens.

Blacks are also differentiated culturally by Burroughs; he does not deal in rude stereotypes. He is aware of cultural differences between African tribes. His proud Waziri are the crème de la crème of the African tribes in every respect, especially in never having submitted to Arab slavers. American Blacks such as Robert Jones of ‘At The Earth’s Core; who have been subjected to different cultural influences in the United States are portrayed entirely differently from the various African Blacks. ERB has a keen eye for distinctions, in dialect and speech most especially.

He himself was an avid reader. This is no more apparent than in his treatment of his Arab characters. He never traveled outside the United States so his knowledge of Moslemism and Arabs had to be acquired completely from books. As Warbaby pointed out in ‘Tarzan Meets Mohammed’ Burroughs was a keen student of Moslem culture. He perceived the complete lack of Science in Moslem thought nearly predicting 9/11.

It is very true that he has no great liking for his Arab characters. They are uniformly disreputable and bad.

Yet they are not stock characters. There is a great deal of individuality about them. Personally I found Amor Ben Khatour, the abductor of Miriem in ‘Son of Tarzan’ a terrifying and realistic character. I thought the sub-plot between Meriem’s father and Khatour well handled.

That the Arabs are all villains may be attributed less to ‘racism’ than the fact of their occupation. They are all slave traders. The Arabs living in Africa were associated with the slave trade. Being a slave trader in Arab society was something like being a dope dealer in ours. Just because someone want to buy the product doesn’t mean they want to be associated with the dealers. The dealer is usually a disreputable person whether in drugs or slaves. Anyone who has read his Burton and Stanley can form a pretty accurate idea of a slaver’s character.

How then could Burroughs depict his Arabs as any less than brutal, mean, disreputable men. This is what a slaver is; this is what Burroughs understood; there is no racism involved. He doesn’t descend into name calling. Rather Burroughs grapples honestly and accurately with some fairly difficult problems.

Burroughs was cleverly synthesizing the ideas and learning of the 1859-1914 period in a way in which those of us of the post-1945 generation who were at ‘Childhood’s End; could use his opinions and attitudes to build a base of opinion on which to extend our own attitudes into the future as a basis of our own lives.

As evidence that Burroughs succeeded is the fact that his character named Tarzan who no longer has a home in a geographical location called Africa still exists as the Lord of the Jungle in a psychological projection of our subconscious called Africa.

 

NOW I SEE THE CONGO, CREEPING THROUGH THE BLACK,

CUTTING THROUGH THE FOREST WITH A GOLDEN TRACK.

 

Yes, that terrifying Congo, that symbol of the Heart of Darkness, the savage untutored wildness creeping through the jungle of our nocturnal fears, the psychological malaise that affects us all. How to find that golden track of consciousness that will relieve us of our uncertainties and make the world safe for us, that is the question.

Perhaps Burroughs’ greatest success was that he created a character to represent our conscious minds while reducing the world of subconscious terrors of this jungle of Africa called Life to a manageable form. In this mental Africa by the force of character we can all feel less threatened and more at home as we cruise down our personal Congo in our very own ‘Lady Alice.’

Long live Tarzan and God Bless Edgar Rice Burroughs.

Peggy Noonan And Alabama Women

by

R.E. Prindle

 

Peggy Noonan came up with an interesting essay in the Wall Street Journal of 11/18-19/17 concerning the sexual issue, specifically concerning Alabama’s Roy Moore, who, as far as I can tell, committed no crimes .

Ever sensitive about Republican sexual peccadilloes the Democratic perverts are forcing Moore to undergo a second confirmatory election to give the Democrats another shot at defeating him. Good god, how they wish they could have forced Trump into a second confirmatory to give Hilary a second chance of winning and how they would have been driven committable had he won. Not as bad thing actually as we would have been relieved of the whole miserable lot.

I don’t know that Doug Jones, chosen to run against Moore, has been sexually vetted to insure he is clean, but in any event Peg approvingly quotes Jones: I’m not in favor of anything that is going to infringe on a woman’s right and freedom to choose.

This is a live issue with certain women: they insist that they choose what they do with their body. Yes, indeed, but this has societal and legal ramifications with real consequences.

The first issue is when is a woman a woman? At the time Jerry Lee Lewis was pushed down in the mire for marrying his 13 year old cousin it was legal in his home State; he was completely within the law and his and his wife’s rights. She should have been free to do with her body as she wished. Nevertheless Jerry Lee was literally crucified.

Recent laws have pushed statutory rape to the age of eighteen. Any male who has sexual relations with a sub-eighteen, even by a day, sub-eighteen himself or not is guilty of statutory rape.

At the same time in girls’ or women’s terms any girl still a virgin past sixteen is a retard. There’s a conflict there isn’t there? Who is going to deflower the women and yet with few exceptions every girl of sixteen has been deflowered? Still, women say that it is every woman’s right to do with her body as she wishes.

Let us assume then that a girl becomes a woman at fourteen when her womanly attributes become obvious and she knows it and struts her stuff. So, the law forbids a woman to function as a woman for four long years when her hormones are driving her crazy.

And this raises the question of prostitution. If a woman can dispose of her body as she wishes then she has the right to sell her favors. In this day and age that would be for several thousand dollars a night. Obviously, the laws as now written prevent women from becoming easy millionaires by forbidding her to use her body as she wishes. Technically this is unjust.

Even more unjust is arresting some poor John who has done no wrong in purchasing a woman’s product of which she is free to dispose.

Of course, the law forbids a woman from exercising this privilege or right. Like marijuana advocates say when the product is made legal crime will cease.

This then poses a problem for candidate Doug Jones. Regardless of whether he favored young women Moore will have been perfectly within his rights, in the above considerations, in pursuing the women as long as didn’t use force. Rape, of course, violates the woman’s right. That they may have acquiesced to the importunatations of Moore doesn’t mean Moore is liable for any censure. The women have no complaint. Certainly a firm no or I’ll call the police would have sufficed to dissuade anyone but a rapist.

So, the whole sexual brou ha ha appears to based on outmoded laws or behavior of women if women are to truly have control of their body. If they err in judgment that is their own concern. If they want to terminate a pregnancy the day before birth or even murder the new born it is the product of their own body and no concern to society. Right?

Rethinking The Las Vegas Shootout

by

R.E. Prindle

 

Let us examine a different scenario for the Vegas Shootout involving Stephen Paddock. First let us consider that numerous people have insisted that there were numerous shooters on the ground. Eight of the most prominent of these people have died within a month suggesting that they were removed. This suggests two things: a. The shooting was part of a large scale plan involving numerous plotters and b. there is a cover up concerning multiple shooters in which many who could contradict the official narrative have been killed. That was either done by an upper management group or the plotters themselves in an effort to maintain the Paddock narrative. This scenario will assume a large plot.

As to criminal methods: If you are going to commit a crime the practice is to implicate an innocent party as a patsy or fall guy. All the evidence will point to the patsy. Once his guilt is established and he judged guilty as far as the police go the crime is solved. No need to look further and the perps are in the clear.

This was how the Kennedy assassination was run. If you remember Lee Harvey Oswald said on TV: I’m just a patsy. He was the obvious shooter although others guaranteed the killing. However it seemed clear that Oswald was going to talk. If he knew he was the patsy then he knew who else was involved. Therefore Jack Ruby was recruited to silence him. The police were warned beforehand that an attempt to kill Oswald was going to occur. They took zero preparations and Oswald was shot by Ruby. The killing of Oswald was done to protect certain parties.

Ruby was imprisoned but he made the conspirators nervous. He was first declared insane to make anything he said irrelevant. Then a couple years later he died from ‘natural’ causes. The conspirators believed they were in the clear.

As far as Paddock goes, with shooters on the ground, the grassy knoll, so to speak, it seems obvious that Paddock is the patsy. It is only assumed that he was the shooter because he was found dead amidst all those guns. (Pay attention to the role of guns.) Hundreds of pounds of weapons and ammunition. Way too much for what was intended.

Now, everybody says that he was a mild mannered man who never caused any trouble while he is said to have sat playing video poker, a solitary occupation, at twelve hour stretches several days in a row. At 64 years of age he had no police record. A law abiding man.   He frequently was comped rooms at the casinos so his checking into the Mandalay was nothing unusual for him. The valet who checked him in said that he had nothing but the usual luggage. Certainly not hundreds of pounds of guns. That valet is one of the people who has died post concert.

Mandalay management says that he didn’t come out of his room after he checked in. There was no way for Paddock to get that arsenal into the hotel and his room.

That means that he and his room was selected as the site for the plot. Bear in mind that the shooting took place after dark so that there was no way that the shooter could have had a clear shot at what he was shooting from 300 or more feet away from a couple hundred feet above street level. The Mandalay was just a decoy to draw attention from the real shooters on the ground, but attention has been directed to the Mandalay, bump stocks and other irrelevant details.

The plotters probably moved the guns into the building into an adjoining room—perhaps the one whose door was ajar that supposedly brought Paddock to the attention of the Mandalay security guard. In all likelihood the security guard was the shooter.

Probably posing as room service he got Paddock to open his door. He then shot Paddock who then was dead before the shooting began. The guard wheeled the weapons into the room either alone or assisted by others who were checked in as guests, leaving the cart outside the door where it was found. The guard then sprayed the door with a burst or two of machine gun fire. Any accomplices did not have to leave the hotel; all they had to do was return to their rooms and wait till the coast was clear.

The guard then created the Mandalay diversion by shooting into the concert enclosure perhaps hitting people but perhaps not. Once the panic began most concert goers would have had no idea what was happening except that it was happening. Probably conspirators called attention to the Mandalay, as the site would not have been that obvious, at which point it could be said that the shooting was coming from the Mandalay.

In any event, chaos created, the guard throws the gun down while giving himself a flesh wound in the leg to authentic his ridiculous story of being hit by a bullet from the spray of machine gun fire through the door and around it.

The police arrive find the guard with his wound, listen to the story and find it credible, then find Paddock splayed out on the floor and assume that he was the shooter. They had absolutely no proof other than the circumstantial evidence. Remember that they only assumed, assumed, that Paddock was the sole shooter.

Thus the case was solved as they chose to ignore the reports of multiple shooters on the ground. The real perps had pulled off the most successful mass murder in US history. The only question now is who were the real perps and why. The shooting was barely over before some anti-gun enthusiast was on the air loudly proclaiming that guns and bump stocks were liable. The presence of so many guns and the uproar about guns points in the direction of the anti-gun crowd as possible perps.

Paddock almost certainly was not the shooter. He was the patsy and had to die just like Oswald. Dead patsies tell no tales.

October 31, 2017

The Myth Of The Twenty-First Century

Part IV

The Musical Assault b

by

R.E. Prindle

 

The Seduction Of Youth

 

The dawning of the Sixties brings us into the heart of the matter: The Seduction Of Youth. The glamour of the Sixties was overwhelming. The sparkle, the glow, the sheer brilliance in so many fields, the bringing together of the best of the century; but beneath the gnomes were at work. We must take a few brief excursions to set the underlying menace to the gorgeous parade above.

Obviously nothing happens without a cause. There are always human manipulators. Who are they? In the broad sense of things Part a identified the Communists and Jews and the plan was worked on from the thirties to 1960. Now we have to go further back to the events surrounding the twenties to get a firm foundation. There we find a group of people superior to the Communists and Jews. These people form the Money Trust. They are above politics, manipulating all parties, pushing them toward the goal of security for the Money Trust.

Nathan Rothschild has been said to say the he cared not who made the laws or governed so long as he had control of the currency. Indeed, money is the tail that wags the dog. In keeping with his dictum in 1913 the Federal Reserve was created under Woodrow Wilson.   With the arrival of the Fed the currency was in the control of the manipulators.

The Federal Reserve is a private corporation owned by a consortium of US and European banks. Nine of these are Jewish firms, the tenth representing Rockefeller interests. The Fed was set up so that it is beyond governmental control. The President of the United States cannot interfere in the administration of the Federal Reserve. The Fed issues US currency and loans it back to the country at interest.

Thus the banking interests form a shadow government that as Nathan Rothschild said gives the Fed control of the US economy and direct influence on governmental policies.

After the Communist Revolution in Russia politics became seen as a political division of two parts: the ‘right side of history’, the repository of virtue styled Communist, Socialists, the Left, Progressives versus the wrong side of history, the repository of evil intentions styled Capitalists, Fascists or as a sub-group, Nazis, changed to Deplorables by Hillary Clinton. All was permitted to the Left; all was denied to the Right.

What to do with the Deplorables? In Russia, renamed the Soviet Union, the attempt was made to murder the whole lot, tens of millions were slaughtered but in the US and Europe outside the Soviet Union this was not possible, so means had to be devised to take psychological control of minds: Indoctrinate and condition. This was made easy by the developments in psychology in the decades leading up to 1920. Psycho-analysis led the way, the efficacy of suggestion and hypnotism was discovered. New technological developments provided unparalleled means. Freudian and Jungian psychology laid the mind bare.

To begin with 1960 moving back to 1920 and once again returning to 1960 we have seen how music was being used as part of a larger program. The Korean War showed how US soldiers captured by Communist North Koreans could be reprogrammed, that is brainwashed, to spout Communist ideals while renouncing their heritage. The movie, The Manchurian Candidate, gives some idea of how this was done.

Learning from the Korean experience the CIA instituted its MK-Ultra program. MK—Mind Kontrol. The Cia then began its own assault on the youth of the US. Of course, little of this was known or even suspected by the general population. There were voices beginning to sound the alarm in the late Sixties but these voices were dismissed as cranks and ‘Conspiracy Theorists.’ Hence today, I’m sure, if people have even heard of MK-Ultra they don’t believe it was real. Indeed, the story is so fantastic as to be beyond belief.

I’ll come back to MK-Ultra. The CIA was a post-WWII development, the brain child of that odd duck Allen Dulles. Farther back, let’s go to the period of the fight for the League of Nations that led to the formation of the Council On Foreign Relations- the CFR. In a Darwinian evolutionary sense expanding human populations were leading to a clash not unlike three or four galaxies colliding in space. What happens when worlds collide?

One possible result is an attempt to form a cooperative unit such as the League of Nations of Woodrow Wilson or FDR’s answer, the United Nations, following in the footsteps of his master, Woodrow Wilson.

In a world unprepared for this first attempt at consolidating all the populations of the world into one globe the League was doomed to failure with or without the inclusion of the US; nevertheless, a rather ridiculous attempt at a global unity devolved into ever smaller units with no means of representation for all was a real loser on the idea. Still, the emotional appeal to the Utopian minded was irresistible. The US laughing all the way refused to join this ridiculous organization that began failing from day one.

As can be seen by FDR’s pulling the wool over the eyes of the American people the Utopians had no thought of giving up.

Thus, when the Cox-FDR ticket running on a pro-League plank went down to a humiliating defeat in 1920 at the hands of despised Warren G. Harding who was no better thought of than our current President, Donald Trump, the Utopians were beside themselves. They began plotting to win the presidency back. That was not so easy as it seemed as it took them twelve years and all kinds of skullduggery.

In their minds the public was untrustworthy and couldn’t be trusted to do the right thing- that is, in the Utopianists’ view. There had been many changes since the winning of the West. Individualism was not so highly prized as back in the good old days when the winners were on their own, so to speak. Now, the times called for a new people, not unlike today. A collective unit in which individualism was punished.

Under Wilson, after America had gone to war in 1917 it was discovered that a collective unit could be created for patriotic reasons by incessant propaganda. Social engineering had passed from theory to practice. Using methods that would never have been tolerated in peace time the American people’s minds had been molded into group think. One solid bloc. There was a lesson to be learned there. And more than one set of people grasped it.

A number of peoples, disparate attitudes but one goal, sought to develop methods of thought control, somewhat in the manner of MK-Ultra, that would work within the US version of democracy. That democracy was crumbling along with individuality and being modified but that was in no way clear to the man on the street and perhaps even the perpetrators of the schemes.

The Communist Party had been quashed by the Harding Administration so the efforts of 1919, 20 and 21 for a Communist revolution came to nothing so the Reds had to go underground, act clandestinely until FDR recognized the Soviet Union in 1933 and took some of the pressure off the Reds so they swarmed into Washington DC but still in disguise.

Of the major groups, that left the Money Trust and the Jews. Bear in mind that the Money Trust was composed also of a Jewish faction led by Kuhn, Loeb and an American faction led by J.P. Morgan and Co. These two groups had different reasons for collectivizing the public, but control of the public mind was the object. The Jews too had their reasons for distrusting the public thus making something like MK-Ultra a key objective.

Out of this ferment then, the Money Trust came up with the idea of the Council On Foreign Relations- the League of Nations by a different name, you see. The CFR was and has been able to direct the affairs of government and that through the use of the currency. The Great Stock Market Crash of 1929 was wholly engineered to discredit President Herbert Hoover elected in 1928, assuming office in March of 1929 as was the style until FDR moved the inauguration to January for his second term.

Hoover was an old fashioned individualist who wanted nothing to do with collectivism thus he was at odds with the Wall Street Gang, on the wrong side of history as it is styled today.   The Money Trust then shifted their support to FDR who, as it were, was on the right side of history. The division between Hoover and CFR became acute for the 1932 election so that the Money Trust and the Jews worked against Hoover denying him Party and financial support. Did I mention that Hoover lost the election?

FDR himself was also connected to the money crowd but once in office he went his own way which was not the Wall Street way so they tried to organize a coup and put in an actual dictator along the lines of Mussolini. Their choice, Gen. Smedley Butler refused to play their game so that the coup was aborted. So now, to return to WWI.

George Creel in his position as chief of Wilson’s propaganda machine, the Committee On Public Information, showed how easy it was by the control of all media outlets to manipulate public opinion into one narrow channel.

Eyes were watching and saw how engineering consensus could be done. Propaganda’s name was changed to public relations. In the years leading up to the war public persons were being slandered or portrayed in unsavory ways without recourse. Finally these figures resorted to counter-propaganda and the public relations occupation was formed to meet this need. A man called Ivy Lee was the first to earn his keep in this fashion. Another successful PR guy was the Jew Edward Bernays. Bernays had also worked with Creel on the CPI and his eyes had been wide open.

Bernays was also the nephew of the psycho-analyst Sigmund Freud. Everyone should at least be familiar with Freud’s name. As a psychologist Freud was also a political man who developed methods to essentially hypnotize whole populations and get them moving in the direction he chose. Bernay’s spent time with Freud in Vienna at which time directing American mores must have been discussed. Freud even gave his nephew various of his works to translate.

Freud, Bernays and the Jews were also concerned with the unpredictability of the people so that they believed like the CFR that the people had to be conditioned, collectivized into an unthinking unit that would be pushed in the direction wanted.

Freud had learned his craft from the French masters Jean-Martin Charcot, Hippolyte Bernheim and Gustave Le Bon. Charcot and Bernheim were master hypnotists although Bernheim was the greater.

I’m sure that many who may be reading consider hypnotism to be a showman’s trick but the practice is quite serious while being more widely used than one might imagine.

Bernheim penetrated to the heart of the matter when he realized that the key to hypnotism was suggestion and that suggestion was everywhere around us. He observed that once a mind accepts a suggestion it will act on it. The key, then, to controlling a whole population is to get an idea firmly planted in the public mind and await results.

Bernays, for instance, understood his uncle well so that the idea of the good and bad had to be created in the public mind. Thus the Jews and Communists as a unit became the good while the opposition became Fascists at best and Nazis at worst. The left and the Right. The Left was good and the Right was bad. No good could expected from the Right and no bad from the Left.

The Soviet Union was the home of Socialism so that the Left’s sympathies lay with the Soviet Union and not in this country, America. This presented some difficulties as Stalin’s policies of extermination of the Right didn’t sit well with the American public. The USSR was closed to outside observation so the Left merely denied that such exterminations were taking place. And this was effective with all but a few and they were denigrated as ‘conspiracy theorists.’ The public by and large accepted these propagandistic suggestions.

Bernays, who may have exaggerated his importance somewhat, was nevertheless very successful in changing US mores. For instance, before the twenties American women weren’t smokers but American Tobacco seeking new markets wanted to change that. The company went to Bernays. He came up with a shtick in which a number of young society women marched in New York’s Easter Parade down 5th Avenue ostentatiously smoking cigarettes. This was enough to get the ball rolling and the female smoker market grew rapidly.

Of course, of greater concern to the Jews was the furtherance of Jewish privilege. While no real violent anti-Semitism existed in the US Jews were considered socially unacceptable. Discrimination in the form of exclusion from country clubs and such things. While Americans had the right to associate with whom they chose the Jews did not see it that way. Their feeling was that they could not be excluded from anything. They set about using propaganda, that is suggestion, to break those barriers down.

The whole story is too long and complex to go into here, suffice it to say that when the tools of radio, sound movies, and then TV came into existence those powerful disseminators of suggestion or propaganda were in Jewish control. As ever a troublesome truth was denied. The denials are never to be taken seriously.

In the media, then, Jews were always portrayed as lovable, kind, generous and good. Even though the thirties Murder Inc. was a Jewish concern it was fobbed off on the Italians. All Whites couldn’t be portrayed as bad so the categories Good Whites and Bad Whites were created. Good Whites were Philo-Semitic, anti-racist, pro-immigration, Homophiles and what have you while Bad Whites were Fascists, Nazis, Little Hitlers, evil, crazed opposites; in Hillary Clinton’s words: Deplorables. These categories through repeated suggestion were firmly implanted into US psyches and mores and exist in concentrated form today.

All this careful indoctrination and conditioning began to bear fruit by 1960. The center of dissemination naturally was New York City. NYC having the largest concentration of Jews in the world; and being the largest concentration had consequences. Furthermore, they were all, or nearly all, Jews from the Russian Pale of Settlement. The Pale was a huge territory bordering Central Europe from North to South designated as a sort of reservation for Jews.

When the steamship made mass transport possible Western European Jews organized the Jews of the Pale for transfer to the US. The assembly point was a town called Brody on the Russian-Hungarian frontier.

This is really a fascinating story. Brody is a story in itself. Starting from Brody, as I understand it, the Jews walked across Hungary, Austria and Germany to the port of Hamburg. There they boarded ships of the Hamburg Amerika line that was owned by fellow Jews; packed into steerage for the journey they were dumped out in New York City. So every summer for decades the highways were filled Jews tramping to Hamburg and exiting in NYC.

From 1871 to 1914 the Hamburg-Amerika line was very prosperous transporting holds full of Jews to the new Promised Land. The seas didn’t part for them but it was much the same thing without the weary wandering for forty years.

Once ashore the German-Jewish exiles of ’48 who were well established had organized the needle trades, that is the clothing industry, so that jobs were ready and waiting. Sweated jobs but entirely within a Jewish milieu or colony.

Many Jewish immigrants moved on, further inland, but most stayed in NYC moving from the huge concentration in the Lower East Side to colonize Brooklyn after the bridge was built. Thus NYC was fully twenty-five per cent Jewish, Socialist or Left leaning, mainly Zionists.

They then filled nearly half of the labor pool in what was then the dominant cultural center of the US. As the Jews understood the importance of education and were industrious it was inevitable that the cultural affairs of the country fell under their influence if not control. Naturally they populated the media as it developed- newspapers, magazines, movies, radio, music and records and TV so that the culture was primarily in Jewish hands.

The area of Greenwich Village next door to the Lower East Side became a Bohemian center attracting the misfits from all over the country. Homosexuality was actively discouraged in the US so every year a few more thousand migrated to NYC and many if not most settled in Greenwich Village so that by 1960 the Village was Jewish, Homosexual, odd balls and misfits and under Leftist control. You could not be of the Right in the Village; you would be run out. The Village was a real zoo. It was here that the Folk Music movement was centered. Home turf to Alan Lomax, Woody Guthrie and Peter Seeger. You couldn’t sing folk without Seeger’s approval. He was an emperor of Greenwich Village.

For all this to come together as it was experienced one has to bring the Art world into the picture. The Art world was in a period of disintegration that had begun with the 1913 Armory show in NYC. Those fifty years from ’13 to the Sixties were wild beyond surmise. Styles had come and gone: Cubist, Vorticist, Dada, Surrealist, Impressionist, Expressionist and out of that devolved Pop Art. The loudest voice and its defining voice was the homosexual son of immigrants Andy Warhol. The Day of the Nerd had arrived.

This is important, the Sixties wouldn’t have been possible without Time Magazine, Time-Life Inc. Time Magazine was formed about 1923 by Henry Luce shortly after the formation of the CFR although there may be no connection. The magazine managed to express the spirit of the times until the mid-Sixties when the sands of time began to slip away from Time. That is, the media began to leave the mess that NYC had become transferring to points South and West to Florida, Los Angeles and San Francisco. But, for one golden moment in the early Sixties, through perhaps ’66 Time Life created the culture that would follow. Perhaps Time even signaled its impending degeneration when in ’66 it published a cover all in black with the words Is God Dead? In white. The cover created quite a flap at the time and may have shattered confidence in the magazine.

While ostensibly a conservative magazine it was as Left leaning as it could get without blowing its cover. Look at the labor pool it had to select from, it was over 50% Jewish and Leftist. At one time during the forties its Editor had been the ex-Communist Whittaker Chambers who had supposedly left the Party in the late thirties and immediately was hired by Time Magazine where he worked his way up to Editor quickly. Does anyone really believe Chambers gave up his lifelong Communist beliefs and became a right winger? Not possible. He may have learned to dissimulate his belief but along with a staff of Jews who were Leftists Time managed to fool Americans through the Sixties until the mystique began to fade.

I stopped reading Time about 1964 when the image failed to match the content. In the early Sixties though it was a bible. Still the revolution that the NY Folk scene was succeeded as much from Time-Life coverage as anything else.

As 1960 began the decade the old forties and Fifties Red Folk scene having passed maturity was approaching its end. Then a few things happened. The Negro revolt that began with the Brown vs. Board of Education decision was approaching a first climax as the battles in the South had been turned to Negro advantages by Supreme Court decisions. The sexual revolution began with the Pill; movies and TV entered a new maturity of violence and as far as Greenwich Village and the Folk scene is concerned, a young Bob Dylan showed up on its doorstep as 1960 began.

One could not have guessed that this unprepossessing callow youth would have such a profound effect on the Village and the country as a whole, once again aided by close attention from Time-Life. At the same time he was supported by a couple of recent Jewish refugees from Chicago, Albert Grossman and Robert Shelton. Perhaps it was just a magic moment when everything came together but the ascent of Dylan from a raw, and I mean raw, novice to a powerful influence on the music of the Sixties seems to have been done with the assistance of interested parties.

On his arrival Dylan showed little to zero talent, his main attribute was an astounding chutzpah. He made the scene in the Village in late February, early March, of ’60. Not having been on the scene I can’t judge from personal appearances, the reception of which was equivocal, some saw nothing there. This view reflects my own from impressions at the time as well as listening to CDs of his very early performances such as his Montreal appearance before a half dozen barflies. He could have been any kid on your block who thought he could sing and couldn’t. There is no talent there.

He used his early months copying other artists. He began as a Woody Guthrie clone then began copying a limited talent, Rambling Jack Elliot, progressed through the purloining of Dave Van Ronk’s repertoire and strangely enough ended up auditioning for Columbia Records, a major label, after having been rejected by the nondescript Folkways Records and the little better known Vanguard.

The first result of his signing by Columbia’s legendary talent spotter John Hammond was the LP titled Bob Dylan that was little better than his Montreal appearance although noisier. The consensus was that he was Hammond’s folly. The public’s response was a benign neglect. Dylan was dogged; he knew not the name of Despair. He persisted. And then he began to write songs.

He would later describe Folk Music as a shuck nevertheless he had apparently studied the Folkies minds and crafted his songs around their prejudices. And it was a relatively clumsy job but it worked. No need to run through the catalog, the Lonesome Death of Hattie Carroll is representative.

Dylan based the song on a news story; newspapers are always reliable sources of inspiration. Hattie was, of course a Negro servant, Blacks being always a source of sympathy. She was serving at a society party, always a good source for hating, and was reported to have been beaten to death before the assembled crowd by one William Zantzinger. There are conflicting versions that seem more believable than a man beating a woman to death if full view of a room full of heartless party goes. Still Dylan’s version was accepted as fact and Zantzinger would never be able to live it down. As would be demonstrated in further songs Dylan was not a stickler for reportorial accuracy.

The above was the tenor of Dylan’s ‘folk’ songs, none too subtle. The most wretched of his early efforts were The Masters of War and Ballad In Plain D which drip in unmitigated hatred. As wretched as those efforts were they established Dylan as the future of the New York scene. He became the Lion of Greenwich Village.

As previously mentioned a talent manager by the name of Allan Grossman had appeared in the Village in 1959. Allan was a go getter; he had ideas and plans. He was instrumental in forming the Newport Folk Festival. He then searched around for singers for a commercial Folk group patterned along the lines of the very successful Kingston Trio but his gimmick was two men and a woman. This would be the phenomenally successful Peter Paul and Mary. Peter and Paul were Jewish and Mary was a shiksa, naturally.

Grossman had connections, this was sort of a Jewish affair, but he needed songs. The Village was rooted in the forties and Fifties so Allan dug around the Pete Seeger song book producing a hit in Pete’s ridiculous If I Had A Hammer. Dylan, however, had churned out a potential hit called Blowing In The Wind, sort of If I Had A Hammer in a high breeze.   Grossman then signed Dylan, primarily as a song writer and was rewarded. Sometime in 1963 Dylan was visited by his muse who stayed with him through mid-1966 until departing to favor others.

Somewhen during ’63, ’64 Dylan caught the fever. It is questionable in my mind that he became a guitar player or harmonica blower but he became one hell of a conductor. He could direct other talented musicians.

Allan Grossman who was directing Dylan’s career as well as Peter Paul and Mary’s was apparently a real operator. He was able to place Dylan’s songs not only with PPM but with numerous artists from schmaltzy to Negro gospel. Dylan’s songs were everywhere. Most people still couldn’t listen to him but under a ceaseless media barrage Grossman inflated his reputation out of proportion. Of course, Time-Life was prominent in the mix, and overall this was a Jewish enterprise.

Then Dylan did the unbelievable, he blew up the NYC folk scene while actually realizing his dream of destroying Tin Pan Alley.

When Dylan first arrived in NYC he scouted Tin Pan Alley where his efforts were so snubbed he vowed to destroy the place. He probably didn’t voice his threat, or maybe he did, but such a threat would have been so risible coming from a unkempt scrawny probably smelly street person that he would have been laughed out. Then, whoever, probably smiled a smile, leaned back in his chair shaking his head and got on with his business. Yet, when Dylan took his electric rock band on the acoustic stage at Newport in 1965 he at one bound broke the festival and created the image of the singer songwriter.

All of a sudden with writers singing their own songs Tin Pan Alley was obsolete. Even the Alley writing team of Goffin-King broke up and sang their own songs. Carole King made it, Gerry Goffin didn’t. Dylan himself wrote no more folk songs instead singing about his girl friends in such abstruse terms nobody could understand him. And so the Sixties transited into the second half that is the real Sixties.

Dylan’s later output was neither folk nor rock but sui generis. There was really nothing like his ’64-’66 period. In the process he shattered the pop format. As in all transitions traditional style existed during the transition and survived but they affected Dylan’s pessimistic social criticism. While I myself was oblivious to any revolutionary qualities in Dylan’s stuff others picked up more violent images. Dylan’s line (a common saying, nothing original) “You don’t need a weatherman to tell which way the wind blows.’ Inspired a creep by the name of Bill Ayers to form a terrorist gang called the Weathermen that morphed into the Weather Underground so as not to exclude women.

His writing may have been influential in the formation of the Jewish terrorist organization, The Jewish Defense League and its offshoot the Jewish Defense Organization. All three groups were murderous bombers with dozens if not hundreds of bombings to their credit. At one point Dylan had an entourage of JDL troops as his body guard until more conservative Jews warned Dylan that the association was hurting his reputation. The singer wisely dropped them. He still continued other revolutionary associations however.

With Dylan’s success the whole concentration of young Folk singers in the Village sought and generally obtained recording contracts and stormed out of the Village singing their Leftist songs across the campuses of America. Very few had any success however. A couple of major exceptions were John Sebastian’s Lovin’ Spoonful and Simon and Garfunkel.

Let us go back a bit to go forward. The CIA back in the Fifties ran their MK-Ultra program. MK for Mind Control. Ostensibly the CIA was seeking drugs that could bypass resistance and get captive enemy soldiers to divulge their secrets. However they turned their drug program against their own people. By the Fifties the world was afloat in new chemical compounds, barbiturates, amphetamines, cocaine, heroin, and the psychedelics, mescaline, the Big Baby LSD, and a host of others including marijuana, all of them disorienting. All of them were turned loose and embraced by an unsuspecting public. Awareness of this didn’t really begin filtering through until the late Sixties although there were lonely voices in the wilderness but as MK-Ultra seemed as incredible as the Nazi death camps had there were few ears to hear.

And yet the evidence was right before our eyes. The whole generation was the guinea pig of the CIA and MK-Ultra. The CIA itself had been organized and run by a really odd duck, Allen Dulles. God only knows what this megalomaniacal nutcake was up to. He appears to have been neither Red. White or pink, playing instead some kind of solitaire.

Combined with the Dulles act was a Jewish flake by the name of Max Jacobson, known as Dr. Feelgood, the King of Amphetamines. Interesting story only encapsulated here. He was one of those Jewish megalomaniacs who graced the twentieth century. He began his career in post-WWI Germany. Whether he was an actual MD isn’t known for sure but in the confusion of the thirties and forties when Jews were fleeing Germany for the safety of the US Max set up shop as a doctor of medicine but his field of expertise was restricted to injecting his patients with massive doses of amphetamines.

He began his career in Germany when amphetamines having been recently discovered were coming into use. Vitamins also were discovered in the teens and twenties so by combining a drug with vitamins Max came up with a new miraculous medicine. Maybe anti-biotics coming along at the same time helped giving him credibility. Max’s version of things is always suspect so I’m taking his word that the came up with the idea of vitamin-speed cocktails. In any event he found it expedient to leave Germany in 1932. Whatever his real reasons may have been his story was that Goebbels sent him on his way but as the Nazis were not yet in charge in ’32 Max’s story like his others seems suspect.

After European wanderings during the thirties, the late thirties found him in NYC where so far as I know his credentials were never challenged so he set up business as an MD, his sole practice being dispensing his amphetamine cocktail.

By 1960 Max was a roaring success having turned on nearly every celebrity in NYC including presidential candidate John F. Kennedy. By the time JFK was sworn in he was an A-head.

One must remember that amphetamines and psychedelics were legal substances until about 1966 so none of this happening in NYC was illegal except for heroin and other controlled substances such as Marijuana. Drugs were unleashed on the whole generation that with exceptions was revolutionized. The music industry itself was the greatest propagator of drugs.

Now, society had been quietly disintegrating since the Armory show of 1913 and WWI. All standards were being slowly deconstructed or debased. This accelerated after 1960. All societal standards were attacked.

The dividing lines between the various arts were being removed so that only one art form existed. The various arts then melded about 1960 into what is known as Pop Art; this included painting, music, dance, theatre and all. Classical artists like Leonard Bernstein became pop figures. Classical musicians began to intermix with rock and jazz.

Thus, the leading Pop figure emerged as none other than Andy Warhol who deconstructed art into elements of photography and painting. After Warhol there has been no direction.

Warhol fully integrated technology into art. Performance Art had become a category and as rock music developed Performance Art was a key element of the Rock show. Thus, perceiving the trends Warhol incorporated a rock band into his entourage. The band was called The Velvet Underground. The leader, Lou Reed was a Jewish heroin addict and homosexual who introduced open drug references into Rock music.

To showcase what he considered his band, the band’s notion differed, Andy had to create a venue. To do this he created the amazing to that time ‘happening’, The Exploding Plastic Inevitable. He thus integrated dancing, singing, rock music, theatre and technology into one theatric display. Very innovative and culture changing not to mention mores. The technology involved a light show in a darkened area that played on the band and through the dancing audience. All of this was very mindblowing at the time. Thus, the early Sixties set up the parameters of the later Sixties. The times themselves were changing and truly revolutionary.

Deconstruction of sexual mores was a role taken up by the Jews who despised all White morals. They especially despised the Chivalric Western role of women. Thus, in 1963 Betty Friedan published her analysis of women called The Feminine Mystique. The book denounced the Western chivalric notion of woman as more or less an idol placed on a pedestal to be revered and admired. Friedan favored the ‘realistic’ Jewish model of woman as a slut. This was supposed to be an advance on feminism. Feminism itself is a desire to return to the Matriarchy in which it is imagined that women were superior to men. Aided by the introduction of the birth control pill in 1960 Friedan achieved her goal and is celebrated as a Jewish heroine today, or, at least, her memory.

In the sexual sense Andy Warhol, the son of immigrants, was a true promoter of homosexuality. In his atelier called The Factory he surrounded himself with amphetamine addicts and homosexuals. These were a very aggressive lot with no morals. At the time in NYC there were strict laws against homosexuality. While the laws did little to suppress homosexuality they were a serious irritant to homosexuals as they were invoked from time to time in an attempt to keep homosexual excesses in line. That regime was broken in 1969 by the riots at the Stonewall Inn in the heart of homosexual Greenwich Village on Christopher Street. This was a serious revolutionary act that had consequences across the country especially in the music industry. Degeneration on a major scale set in.

The nature of rock music changed overnight as the homosexuals in the record business, empowered, came out of the woodwork. The period immediately issuing from Stonewall was known as the Candy Store era of homosexuality. The whole nature of sexuality was modified, what between the Pill, the period of Feminism introduced by Betty Friedan and the emancipation of homosexuals, it was a period of sexual chaos. Libertinism run rampant.

The Candy Store period would be brought up short by the introduction of the homosexual disease AIDS introduced as the eighties began. Sexual license became deadly.

Before it did, capping the period of sexual license was the infamous NYC nightclub, Studio 54. The club may have been the most astonishing public display of sex ever, or, at least, since the excesses of Caligula. Studio 54 was what the homosexual laws were meant to prevent.

Studio 54 brought together all he most important Libertines, perverts and what have you into one huge corrupting club. Warhol, Halston, Capote, the whole lot. The place was a homosexual’s paradise. But more importantly it not only brought together homosexual resentment but also immigrant resentment desiring revenge for supposed indignities heaped on them or their parents by the WASP elite.

Anyone who thinks that those who consider themselves ‘oppressed’ minorities don’t want vengeance is disconnected from reality. Andy Warhol was both a homosexual and an immigrant’s son. In his case he was a Ruthenian. He grew up as a steelworker’s son in Pittsburgh knowing hard times during the depression. Even so he received a college education in Pittsburgh removing to NYC on graduation day. There, as an illustrator, Andy was an immediate success earning well into five figures during the Fifties. That would equate to something at least in the high six figures today.

One would think that would allay his grievances somewhat. Not so. As noted all of the high class freaks gathered at Studio 54 many of them nurturing the same grievances as Andy. They were all drug users suffering from reality disconnect. Like all drug users they lost all moral controls confusing their wishes to be what was right. Thus they concocted a scheme to totally injure and humiliate the children of the WASP elite. Now, unless you were a habitué of Studio 54 you had no idea of what degeneracy was going on inside the walls, possibly you might have embraced it if you had, but the general impression was that it was just a tony nightclub.

Having gathered groups of the elite’s kids, kids somewhere between say sixteen and eighteen or nineteen they bussed them down to Studio 54; they introduced them to licentiousness and drugs turning the girls especially into heroin addicts. Then they sent the young women to buy drugs in darkest Harlem. Thus you had a gaggle of White girls in Harlem trying to score heroin. You know what dealers expect from their female addicts and probably male addicts. So these women were totally degraded. One imagines the gales of laughter from Andy and his crowd as they imagined what was happening to these detested daughters of the WASP elite in darkest Harlem.

I picked up this detail from Anthony Haden-Guest’s history of Studio 54. I don’t know when or how he knew but if he did know then others knew too. The club was only two years old and exceptionally profitable when the authorities shut the place down sending the two owners to prison for a few years. Of course the charge was tax evasion but one wonders what all crimes were going on that the two owners Rubel and Schrader, were committing or permitting.

We’ve gotten a little ahead of ourselves here but I thought it was necessary. Let us go back to the mid-Sixties. For my understanding the real Sixties didn’t begin until 1966 and didn’t end until 1974. But I’m telling it and that’s the way I’m telling it.

 

Part IV c follow

The Myth Of The Twenty-First Century

by

R.E. Prindle

The Music Assault: a

 

-I-

As the Fifties of the last century began voices were beginning to be raised objecting to the Communist influences in music. Of course the Communists and their Fellow Travelers denied the accusation. As the Fifties witnessed the birth of Rock n’ Rollers we innocent teens rejected the idea outright as an attack on our music. And yet…and yet…it now is proven true. Of all the cultural weapons for changing a culture music is one of the most effective.

It was perhaps the ancient Greek legislator Solon who first pointed out that when there is change in a nation’s music it presages major cultural changes in that society. While Solon may have been first, I first had my attention drawn to the notion by that great American social historian, Marc Sullivan who wrote in the thirties. Sullivan who was the premier journalist of the first third of the twentieth century wrote his terrific six volume social history of the US for the same period and he was especially concerned with the role of music as he recorded the various changes to American music over the period.

The period also saw the rise of the phonograph and recording industry as it evolved from the three minute 78 rpm shellac record to the 45 rep vinyl disc and the to the 10” long playing disc or LP then to high fidelity then to the 12” LP that perfected the size of an LP and finally in 1958 to stereo hi-fi that became the standard until the development of the compact disc or CD. At the point of the 12” stereo LP the medium that would influence the generation was perfected. More efficient production methods with a greatly expanding market brought prices within the range of nearly everyone while rising wages added the frosting to the musical cake.

America had a rich and wide range of musical styles to choose from. As Mark Sullivan pointed out each immigrant group brought its musical tradition with it. Thus, there were first Irish tunes contributing Celtic traditions to the American pie, German tunes, Italian tunes, traditional British tunes and what have you. As Sullivan points out the Jewish contribution was different. No specific Jewish music came to light however the Jews were capable of mimicking every national music. Thus seeming songs of every race and nationality may upon examination prove to be of Jewish provenance.

Post WWI when the current American scene began it rise there was a large body of music available from Negro to Irish, German, Italian, White Hillbilly and Western, as well as White popular music. After 1920 an astonishing amount of popular music was written and not infrequently performed by Jews. The cultural direction of the US then fell into the hands of Jews. The Jews would take a commanding role in all phases of popular music as the century evolved.

An important source of music came from the Negro population. Early ragtime evolved into jazz then combined with the New Orleans style. The New Orleans style moved upriver to Chicago where it changed once again from country blues to Big City Blues and Rhythm and Blues, R&B.

Behind these musics lay native White music that evolved from British folk music. This music turned into Hillbilly or its more refined and socially acceptable name, Country. Cowboy or Western music was a separate genre. Although combined into one category the two musics were quite separate. One Shreveport DJ boasted that the played both kinds of music, Country and Western. Originally Hillbilly and Negro music were termed Race music but developing sensibilities caused Race music to be changed into Country and Western and Rhythm and Blues. Jazz, of course was always a separate category.

A most significant musical event occurred in 1926 when Carl Sandburg published the magnificent musical compendium The American Song Bag. This was a collection of Folk and bar tunes that centered around the period 1880-1910 including such classics as The Midnight Special and Frankie and Johnny, Betty and Dupree and others that were the staple of Rock n’ Roll through the Sixties and seventies and that began to disappear with the coming of homosexual disco music and Negro rap.

Mark Sullivan’s six volume Our Times was a best seller. It is impossible to tell who all were influenced. Carl Sandburg’s American Song Book influenced musicians in both the US and Great Britain down through the eighties. Nevertheless, using popular songs to influence popular mores was taken up seriously from the thirties on by the Communists. Recently an attempt has begun to dissociate Communist crimes by referring to a Stalinist period, now making Stalin a sort of Communist Hitler personally responsible for the crimes, the Trotskyist party being the good Communists, thus absolving Communism. Of course, for the Jews, the backbone of Communism, they seized the song and dance business as early as the turn of the century so the business became second nature to them.

Songs by Jewish writers that seem innocent enough on the surface, Jews claim are actually subversive of ‘Christian’ or American culture. A song writer the country revered during the period was Irving Berlin. According to Jewish writers a song like the Easter Parade of the apparently devilishly clever Irving Berlin, pleasant enough on the face of it, is actually an attack demeaning the resurrection of Jesus as nothing more than a fashion parade. Another Berlin tune, White Christmas, they say, turns the birth of Jesus into a paean for snow. Berlin’s God Bless America is a call for Jews to quit causing trouble as WWII became imminent and ‘to stand beside (America) and guide (America) with the help from God above.’

The propaganda of those three songs may be too subtle for most people to grasp but if the Jews say that was their intent then it must be so.

It is interesting to note that the patriotic content of Hillbilly and Western songs made their listeners more impervious to the Communist propaganda than the general public. Thus ‘native’ American music became a propaganda tool putting a stick in the spokes of the Communist wheel. That may be part of the reason that Country music has been denigrated while its listeners are depicted as low class ignorant Whites. And it may be part of the reason about 1977 that an edict went out to Country radio stations forbidding them to play fifties and sixties country records. Any DJs who ignored the edict were summarily fired. From that time forward only current country artists could be played as old patriotic motifs were attempted to be deleted in favor of the new Communist mores. New technological development of course placed that edict beyond their enforcement temporarily although still in effect for radio. But, from 1977 forward only current country artists could be played, a subtle change occurred although it was too difficult for C&W to abandon its patriotic roots entirely. It is interesting that in October 1917 an attack was made on a C&W concert in Las Vegas Nevada in which over five hundred people were gunned down, dead or wounded. The assault goes on, this time deadly.

It is interesting that during the thirties the Roosevelt Administration funded Leftist folk song collectors such as Alan Lomax to rove the nether reaches of White Appalachian cultures and Southern Negro culture in search of ‘folk’ tunes. The search can be construed as an attack on culture as from that time Folk music was accused of being Communist influenced. Indeed, such performer’s when found were coopted by the Left as much as possible. Thus the Negro Huddie ‘Leadbelly’ Ledbettor became a key icon of the Left although I doubt if Leadbelly had any politics.

A key performer was the influential Woody Guthrie who was a Communist and who sported a sticker on his guitar claiming that ‘this machine kills Fascists.’ Fascists in the Left’s lexicon means only non-Communists. Guthrie thus became a propagandist for the Communists and FDR. And he was superb. Once again, his songs may not have been apparent as propaganda but such songs as Grand Coolie Dam and the celebration of the Columbia River’s Bonneville Dam certainly were but so subtle you wouldn’t notice. Grand Coolie was Roosevelt’s attempt to shade Herbert Hoover’s magnificent achievement Hoover Dam on the Colorado renamed Boulder Dam in spite by FDR and changed back to Hoover after FDR’s death.

So, as Hoover Dam neared completion FDR began Grand Coulee as a propaganda ploy. Just as Hoover was billed as making the desert bloom so Grand Coulee was said to transform Washington State’s Columbia River valley. FDR began Grand Coulee and requested Guthrie to compose a song celebrating it. Guthrie actually composed a suite of songs around the Dam. Hoover Dam was by far the greater achievement but through the magic of propaganda Grand Coolie took the spotlight. Great song too, one of Guthrie’s best; I recommend the Lonnie Donegan version.

John A. Lomax and his more famous son Alan remained fixtures on the folk scene that matured and expired in New York City’s Greenwich Village during the Sixties. That movement was both Jewish and Leftist. Alan was a very important figure in American Negro and World Music to the time of his death in 2002.

Setting the Folk tone in the forties along with Woody Guthrie was the redoubtable Pete Seeger who remained a significant figure in the urban Folk scene until his death in 2014. Seeger was instrumental in the forties in the formation of the Almanac Singers which while not particularly successful in attracting audiences was nevertheless a key element in the urban Folk revival. The troupe attracted Guthrie who was in and out and eventually morphed into the post-war group, the very successful Weavers. The Weavers ran afoul of the House Un-American Committee and were forced into temporary inactivity. Still, they were very influential on subsequent folk groups of the late Fifties such as the Kingston Trio. Folk groups like the Kingstons were also key figures in the development of World Music.

The forties mentality of the urban folk tradition continued in New York City until the early and mid-Sixties when it was transformed by people like the Chicago transplant, Albert Grossman who was key in taking the NYC folk scene commercial through his formation of the group Peter, Paul and Mary and his association with a callow Bob Dylan from Minnesota as a songwriter.

While White people despised and rejected their own Country and Folk music including the performers they very actively embraced Negro or Black music. Negro music can be broadly divided into three categories, pop, rhythm and blues and jazz. Negro pop music was packaged for White consumption led by stellar performers of the forties group, The Ink Spots and the Fifties Platters.

The Ink Spots would be very influential on the quintessential rocker Elvis Presley. Negro pop was very smooth and agreeable to White ears while still distinctly Negro.

Rhythm and Blues by the early groups was Negro music for Black people. Whites generally ignored it but many dedicated White enthusiasts worked to make it palatable. The music was very alien in sound to White ears. The Blues part of Rhythm and Blues before English performers revolutionized the music during the British Invasion had no White audience except for a negrified minority. All of the near sacred names of today had no audience back then.

Jazz with its long history and many variations was more of a crossover music although perhaps not quite so popular as C&W. Jazz, Rhythm and Blues and Country and Western were all styled Race Music by the industry. That all changed with the 1954 Brown vs. The Board Of Education Supreme Court decision when strong racial distinctions were dropped.

It was then that crossover recordings suddenly became popular. Race songwriters such as the great Hank Williams had several of his songs recorded by schmaltzy pop singers although he himself was too Hillbilly to be accepted by the haut Whites. Western singer Marty Robbins temporarily gained acceptance of a sort by the haut Whites. At least they bought his records. Robbins competed on the pop charts with schmaltz singer Guy Mitchell.

Dozens of R&B songs were covered, that is hits on the R&B charts were rerecorded by White schmaltz pop singers. The Negro artists themselves didn’t make it to the pop charts as their sound was still too raw and designed for ethnic markets. This would change shortly as Country style Negro singer Chuck Berry turned out hits aimed at the White teen rock n’ roll market. Black artists more ethnic than the earlier Ink Spots began to have hits. However the rock n’ roll market per se would remain White.

The jazz market was tightly bound to Negroes and those Whites who were sympathetic to the Negro spirit and psychology. That is how the musical scene stood c. 1955-’60.

As Mark Sullivan knew and predicted changes in the music portended great changes in society. The various musics would then be used for propagandizing political agendas. That would be to directly challenge what was known as White Supremacy.

During the eighteenth and nineteenth centuries Europeans had successfully invaded and conquered the world. With few exceptions the world had been colonized and essentially annexed by Europeans, principally England and France. By the end of the nineteenth century North America was European; Africa had been conquered and divided by the European nations, almost without exception all the islands of the world flew European flags, Japan being the major exception. Even huge China had been divided into spheres of interest, the Imperial City sacked, much as ancient Rome had been plundered, while the Chinese government was subservient to the European powers. Not since Genghis Kahn had such an empire been in existence. Times had changed and while historians are still in awe of the Mongol conquests, Europeans conquests were somehow seen as evil.

Then the reaction set in.

European populations were too small to provide settlers for all but a few choice locations and those mainly in North America while the fratricidal war of 1914-18 shattered European power as European manhood was destroyed in the millions on the battle fields. At the same time Europe divided into two opposing camps, the Communist and the Traditional, styled Capitalist by the Communists.

The nominally free of the West and the bond or serf of the Communist world. The Communists could attack the West externally, that is arouse the colonies to resist ‘Imperialism’ and at the same time cultivate dissenters internally to unbalance internal politics while being immune themselves as totalitarian State brooking no dissenting opinions.

As the thirties, also known as the Red Decade, began, then, Communists agents were entrenched in the institutions of the ‘free’ West with the exception of Germany, Italy and Spain. The West was between two jaws of the vice.

What I say next goes against everything you have been conditioned to believe. Your first reaction will be to be deeply offended. The driving and dividing force in the destruction of the West and Whites is the Jewish nation. The Jews are not only citizens of the countries in which they reside but they are a semi-autonomous nation operating within the various national boundaries and also as a supra-national nation or people organized to function over the nations with their own international government. You will resist this reality but it is the truth nonetheless.

Jews were an integral unit in the Roosevelt Administration while Secretary of the Treasury Henry Morgenthau Jr. considered himself almost a co-president. As such, they needed a bludgeon to fracture the US into its separate national and racial constituencies. The race issue was the easiest to exacerbate. Not only were the Jews the ultimate victims themselves after the concentration camps of the Nazis were confirmed, and they were very difficult for most people to believe, but the Negro was even a bigger and heavier bludgeon of guilt. While US Whites had nothing to do with Nazi methods, White guilt over Negro slavery was very active.

However, with Jim Crow firmly seated a good lever was needed to divide the Whites into two camps styled the racists and the anti-racists, haters and anti-haters, Semitophiles and anti-Semites, the good and the bad. There was no neutrality or reason; it was either-or. If you were not an ardently professing anti-racist then you were perforce a racist. Nevertheless, Jim Crow was so solidly entrenched and, actually, satisfactory to the Whites of all regions, that a plan to enter the wedge had to be found. This was—music.

Bear in mind that with the connivance of FDR and his wife Eleanor his Works Progress Administration (WPA) through its Federal Writer’s Project, Federal Theatre Project and others funded so-called unemployed writers, actors and directors and such, including Alan Lomax. How a writer or actor qualified for this money isn’t clear to me. Almost all, but the lucky few, can be considered full time unemployed unless they stoop to a day job. As a consequence under the direction of administrator Hallie Flanagan the Projects were filled with Communists, Leftists, whatever name you give them to the exclusion of non-ideological applicants thus the whole of literature, stage and music became a propaganda tool for Communism. Members of the Arts Projects would be active guiding members of the arts for decades so that non-Ideologists were frozen out of influence and prosperity. Most especially beneficiaries was the Folk music wing under the leadership of Lomax and Pete ‘If I Had A Hammer’ Seeger. The only reason Pete didn’t have a hammer is because he was an artist and his words and music were a hammer. He was sponging his way through life.

After the Folk tactic that included deconstruction of Folk into useful elements and then reconstructing it into Leftist propaganda the idea was to introduce Negro music into the White culture, in this case an assault on the vulnerable young person who would soon become the consumer category, teenager.

This would not be easy as the contrasts between the Negro culture and the White culture were no more apparent than in music. You must realize that in this hundred year period differences were much stronger than today so that the two musicals styles might have been from parallel and dissimilar universes. Of course, pop groups like the Ink Spots had been molded, accepted and given a place but they were packaged specifically for a White audience; I doubt if many Negroes listened to them. The Negro blues music was too raw except for a marginal White audience and that left Rhythm and Blues (R&B) that was mostly pop music specifically for the Black audience.

In the big cities with a large Negro audience specific Negro radio stations existed appealing also to members of a larger White audience. There was a sort of missionary aspect in the attempt to make White kids accept the music. The music crusaders were almost all Jews and Jewish disc jockeys, (DJs, radio employees who played records). New York City was a hot bed for them although the top DJ of all time, Alan Freed, originated in Cleveland then moving to New York City before he was punished by the US Congress for being too successful.

So, gradually over a decade or so authentic Negro groups gained a White audience but it was only Jewish songwriters writing in the Negro idiom made palatable for Whites that put R&B over, such as the most successful writing team, Leiber and Stoller plus Doc Pomus, Carole King and her husband Gerry Goffin among many others. It all came out of Tin Pan Alley and that was Jewish. An interesting story about Tin Pan Alley and Bob Dylan will appear further along.

I came from a smaller town that offered a half hour a week show on one station of Detroit R&B, always delivered in sacred tones by the White DJ. As the Sixties began Berry Gordy of Detroit discovered the formula for making Negro pop records for a White audience by a Black producer and company although many of the authentic sounding Negro musicians backing the singers were White.

By 1960 then, Negro R&B had conquered the White market but not yet Negro artists like James Brown or Bo Diddley. That would take a lot of propaganda and the two were never put over to a universal audience. The success of R&B coincided with the success of the Civil Rights Movement. It would become racist not to prefer Negro music to White.

To back up a little to put things into perspective, that is the reaction of Folk musical development. In his travels through the Negro regions of the South looking for authentic Negro songs Alan Lomax discovered a murderer in prison by the name of Huddie Ledbettor known by his nickname Leadbelly. Leadbelly was a mediocre guitar player and so-so singer, but he captured Lomax’s fancy. I am always amazed at Lomax’s extreme dedication in pursuing these songs of which very few would ever be heard by anyone else. Prisons seem like the last place I would go. There must have been many venues on the outside offering many knowledgeable singers of Negro Tunes. As it turns out a large part of Leadbelly’s repertoire can be found in Carl Sandburg’s American Song Bag of 1926 that Lomax apparently never consulted.

Leadbelly supposedly knew hundreds of songs unfamiliar to anyone but himself, however as I have pointed out the most popular ones can be found in Sandburg. I make no further comment. It must be that the Left needed some Negro singers to be so astonishingly talented as to put White listeners in awe. Leadbelly today has a legendary status. Hence Leadbelly rescued by Lomax not once but twice from prison – two separate offenses – was taken to New York where he was feted, lionized and recorded. With all this hoopla Leadbelly within a few years became a legend in his own time.

Although he only learned the songs he is often credited with writing them. I’m sure most Folkies think he wrote them. For instance Midnight Special which was a foundation song of the Folk and Rock years can be found in two different verstions (pp. 26 and 217 in Sandburg) and Sandburg himself only collected songs that dated back to the years surrounding the turn of the century. Thus a nondescript murderer became a legend of profound Negro creativity.

The Almanac Singers who turned into the Weavers were led by the indefatigable Pete Seeger. Thus, from the forties through 1953 when the Weavers were blacklisted the group banged the gong for Huddie Ledbettor making a hit of Goodnight Irene as sung by Leadbelly. Now, as these songs reportedly came from the soul of the Magic Negro they became anthems if not religious hymns. It would become racist to not only not like them but not revere them as high water marks in music.

Before blacklisting the Weavers were very popular. Their next release was eagerly awaited. Not only did they promote the Negro case but they were instrumental, if not one of the originators, of forming World Music. World Music then was used to denigrate White music. The Weavers made a big hit out of a Jewish song called Tzena, Tzena, Tzena. It was a catchy tune with a lot of joyous whooping that made it hard not to like.

Now, this was shortly after the founding of Israel in 1948 so there was a lot of hoopla concerning the Jews as the Christian Fundamentalists heralded the founding of the Jewish state as the prophesied return of the Jews of the world to the ‘Holy Land’ whereby when that was accomplished the Final Judgment would be at hand. The Great Gittin’ Up Morning. The end of one world and the beginning of the next. In fact, at this time there was a lot of gathering by the river music and some actual dates prophesying the end of the world that came and went several times while stirring the people up mightily.

At this time, somewhen around 1954, TV was becoming established as the eye in the living room and a favorite show was ‘Your Hit Parade’ of the top ten songs in the country. Pete Seeger seized the moment although he misinterpreted it trying to mainline politics into entertainment. Tzena being Jewish and having been a hit Pete thought that the ditty was a hit because it was Jewish rather than a lilting tune. In a burst of enthusiasm to promote the Jewish State and people Pete came up with a song called Song Of The Sabra. Sabras were people who had been born in then Palestine so were native, as it were, to Israel. The song either was so offensively pro-Jewish that it had no chance of becoming a hit or it was a dud of a song. It was unadulterated propaganda. Nevertheless, though barely released and not even in the top ten, probably using the fame of the Weavers, Seeger persuaded Your Hit Parade to let him style the song as an ‘extra.’ He used the set of a phony camp fire with ‘Sabras’ gathered around singing in absolute solidarity. Well it was a bomb, setting up a reaction condemning it. I wouldn’t be surprised if the song was the main reason the Weavers were blacklisted.

Nevertheless World Music had been launched. It came about in various ways. For instance, there were musical fetes in the Negro Caribbean, Trinidad, where calypso music was performed by groups with exotic names like Lord Invader and Mighty Sparrow. There were calypso competitions and champions proclaimed. At the same time the Mambo and Samba became dance crazes as South American music was celebrated. Those were the days when pidgin English was still an accepted dialect. Of course there was Harry Belafonte and his Banana Boat Song – daylight come and me want to go home. Belafonte hated the US; his concerts were put downs of it and the West. His attitude was either ignored or embraced and he was very popular for a while.

Now, all this music was pleasant enjoyable stuff while few people realized that they were being propagandized and conditioned to despise or devalue their own culture and America. This would become more obvious and embraced in 1957 when Eugene Burdick published his book ‘The Ugly American.’ American’s embraced the idea that they were ugly, actually seemed to enjoy it, glory in it.

And, also, Jac Holtzman who had founded his Electra Records label about this time began issuing a series of records on his subsidiary label, Nonesuch Records, displaying Japanese Koto Music, Balinese Gamelan Music and others, Bulgarian Folk Songs, pretty nifty stuff, all excellent enjoyable records, mainly for the intelligentsia of the time, but moving World Music along. On the pop front Martin Denny’s recording The Quiet Village and similar others may also actually have been a contribution to World Music. Americans were beginning to have money and felt the lure of far away places. They were footloose and the big transatlantic 707s came into use in 1959 making traveling to faraway place easy. The 1948 song by Alex Kramer and Joan Whitley expresses the desire:

Far away places with strange sounding names

Far over the seas,

Those far away places with the strange sounding names

Are Calling me, calling me…

Goin’ to China or maybe Siam,

I wanna see for myself

Those far way places I’ve been reading about

In a book that I took from a shelf.

I start getting restless whenever I hear

The whistle of a train.

I pray for the day I can get under way

And look for the castles in Spain.

They call me a dreamer, well, maybe I am,

But I know that I’m yearning to see

Those faraway places with strange sounding names

Calling me, calling me away.

There is the general post-war musical scene. Now, in 1954 Bill Haley and the Comets officially introduced rock n’ roll to the world. This was as upsetting to the WWII generation as the atom bomb. It was a change in culture they didn’t see coming and absolutely rejected. Haley was made to pay a price for this. Rock n’ Roll. Just like the atom bomb rock n’ roll blew the world apart. It split the older and younger generations in two. There was no gap; there was a cleavage. There was no connection between them and no room for conciliation.

At the same time the music alarmed the anti-Communist people who were just coming off the McCarthy years. Joe McCarthy had just been discredited by Eisenhower.

The Protestant and Catholic clergy that had the most to lose from the Communist Revolution succeeded, deep in a frenzy, in declaring that rock n’ roll was the leading edge of the Communist conspiracy. Sixteen at the time and quite taken by R&R I found this claim ludicrous. Of late I begin to understand their concern.

Here is a quote from the Reverend David A. Noebel’s Rhythm, Riots and Revolution published by Christian Crusade Publishing. Noebel was associating with the Billy James Hargis Crusade:

When Pete Seeger made the comment that “the guitar could be mightier than the bomb,” he wasn’t engaged in wishful thinking. The truth is these Marxist folk singers are achieving their nefarious objectives. Singing their Marxist ditties and making their listeners feel nauseated at living in America is proving extremely effective; and their scientific modus operandi is described thus by Dr. William J. Bryan Jr: “Sometimes a well-known folk-song’s tempo will be changed to the same beat as the normal pulse beat which makes it more effective for induction. This is identically the same technique used by Young People’s Records for children.

[In point of fact it was also the technique that Sixties singer and guitarist Jimi Hendrix used. As he explained it the idea was to set up a steady beat lulling the audience over a period into a hypnoid state and then when in a passive mental state injecting the propaganda then continuing the song.]

“Right now,” according to Seeger, “many of the song traditions of the 1930s are seeing new life as never before – in the freedom songs of the South and in the topical singers of many a campus.”

The revolutionary folksong of the Communists in this country is Pete Seeger’s famous “We Shall Overcome.” In fact as Dr. Fernando Penabaz has pointed out, Fidel Castro’s official slogan for his Communist regime in Cuba is precisely “Venceremos i.e. “We Shall Overcome.” Fidel Castro closes every public speech with, “Patria o muerte, venceremos.” (Fatherland or death, we shall overcome.) and his captive mobs dutifully chant, “Venceremos.”

As can be seen this was a massive coordinated attack on the mores of the US. Beginning with the very young the effort is to condition young minds to a very definite Weltanschauung.   The effort quite clearly is toward a Jewish and Communist system. These operatives function unhampered and unhindered. David Noebel, a Protestant minister, is well informed, he knows whereof he speaks, but he couldn’t find a publisher, he had to self-publish which means he has no distribution so he has effectively been silenced. As a religious he can automatically be dismissed as a crank, so thoroughly discredited.

In an instance like Noebel’s someone, some organization has to be able to shut off all approaches and those parties or party will direct the great propaganda machine that will become rock n’ roll. That points directly to the Jews who effectively control or controlled the whole music industry from top to bottom. It was an exceptional person who broke through the blockade and that guy never showed up.

The Jews and the Communists quarreled after the War was over so that the Left expelled the Jews and was then denounced as anti-Semitic rather ruefully by the Jews, leaving them with a solo act. The two organizations function independently although within the same Weltanschauung even though the Jews were concerned with furthering only their own interests.

Bearing in mind this general survey of the music scene we move into the main area of the post-war R&R scene. Rock and Roll was the expression of the generation. While most other generations were centered on literature shading into movies, the post-war generation expressed itself through songs which is to say vinyl records seconded by movies and TV shows. The driving force behind the record industry, its sales agent, was radio.

The important radio disseminator was the disc jockey, the DJ. DJs, those who selected which 45 rpm records out of thousands that could get airplay, controlled the industry.

Prior to television the radio was the great popular communicator; radio was controlled by three networks that managed what people could hear. TV changed that. The first television screen was functional as early as the late twenties, there were broadcasts by the late thirties. Sax Rohmer in his Fu Manchu novels demonstrated how TV could be used to hypnotize although he had the wrong technique.

The war throttled the emerging technology until after war’s end when TV became commercially viable. By 1954 the death rattle of network radio was audible. The radio stations didn’t know which way to turn. At that time some bulb invented the Top 40 record format just after Bill Haley pushed rock n’ roll into the limelight.

Now, the rock n’ roll generation begins with those born in 1938 although the first artists, such as Elvis Presley, were born in 1935. Nineteen thirty-seven, then, was the cut off date for the generational divide. The 1938 cohort was the swing or transitional group. They graduated in 1956. Perhaps as little as 30% of the class of ’56 were rock n’ rollers; the class of ’57 born in 1939 and after were wholehearted rockers except for the reactionary few. The early performers after the founders were from 1935 to 1943, perhaps ’44.

So rock n’ roll preceded Top 40 radio that created the mind of the generation. Radio, nearly killed by TV, was then saved by becoming 24 hour, seven days a week rock n’ roll music radio. They said it wouldn’t work but it made station owners rich.

The idea with Top 40 radio was that only the top forty hit records could be played non-stop with only a couple new introductions every week or so. The top five were two plays per hour while a smash hit would be played every quarter hour for its stay on top. The biggest smash I can remember was Lonnie Donegan’s Rock Island Line. I once jockeyed between radio stations and succeeded in hearing the song for twenty-three straight minutes. After two weeks in the top position the DJs demoted its rotation over the objections of the radio audience. So, you can see the importance of getting the right message on the air. This was conditioning par excellence. The right message had to get through.

R&R was the propaganda machine of propaganda machines. Obviously the C&W stations were putting out the wrong propaganda while the rock n’ roll stations could be controlled to propagate the ‘correct’ attitudes. This required organization. Out of the thousands of 45 rpms produced every year as few as perhaps one or two hundred would ever find air time. This power could not be left in the hands of DJs.

One couldn’t have hundreds of disc jockeys individually selecting would could be played. So, there were promotion men who brought their releases to the dis jockeys to persuade them to play their record and not someone else’s. Actually there were only three important break out markets in the country, NYC, Chicago and Los Angeles. Disc jockeys in lesser markets took their cue from those three markets. The number of disc jockeys to be influenced then narrowed down to maybe a dozen.

In addition to the radio DJs the other important player was Dick Clark and his TV show American Band Stand which nearly every kid in America rushed home from school to watch. So, just because you had a potentially hit record it wasn’t worth anything unless you could get it played in a break out market or on Bandstand. Thousands of releases and a dozen men who stood in the way of getting your record played. The best way to get it played was to do favors for an important disc jockey. This could involve almost anything but the best thing was to give points in publishing. Royalties per unit were small but accrued from millions of sales of several records a year, my, how the money rolled in. Certain DJs were poised to become some of the richest men in America. Easy street for life as many of these songs popularity went on for decades. It wasn’t realized at the time that this was to be so but it was. It was too good to last. The payola scandal of the late fifties erupted in the halls of Congress. It was worse than the famous ‘Red Scare’ of the late forties and early Fifties. It was vicious and the DJs of America paid heavier penalties than any Commie ever did.

I mean, this wasn’t Communism on trial, this was rock n’ roll, worse than the Nazis, it was the greatest scourge of the millennium, it was the Devil’s music. They might only have been able to get the DJs for excess profits, but that was it; they were getting too much money for too little effort. Payola, how else were you going to get your single disc played out of thousands of which maybe a few hundreds were potential hits? It’s not like the DJs were paid to play lousy records; no record is a hit by simple exposure. Hits are made by people, many people, not just the singers or musicians themselves and when it’s right the disc sells a million. Otherwise, straight to the cutout bins.

But for Chrissakes, these DJs were corrupting the youth of America with jungle beats and rock n’ roll. Precisely. That’s what they were intended to do and that’s what the Reverends were complaining about. Didn’t anybody but these religious types get it? If the Congressmen had gotten the coded messages as well they would have been walking around in circles and stuttering for decades which, as a matter of fact, they have.

But they were only thinking of the loot. They told Dick Clark for instance that he could have his TV show or the publishing he had gotten from payola. That was like saying Dick, you can have a hundred million from your TV show or a billion from your publishing, which is it? I have no idea what the legal basis was for making such an offer but Dick opted for the TV show and let the big money ride. He discovered his mistake later and the Congressmen had they known would have approved.

Alan Freed, number one top DJ in this or any other universe felt so disgraced he committed suicide. ‘What did I do wrong?’ might have been his last moan. Who cared? He should have taken the money and run. But, that was just it, no laws had been broken put punishments were draconian.

Mom and Daddy told me:

Son, we don’t like that rock n’ roll.

You can stay boy, but that music’s got to go.

Oh but, I don’t wanna, I don’t wanna

Hang up my rock n’ roll shoes.

Well, we all did eventually; rock n’ roll wasn’t really here to stay, it just kind of faded away it didn’t really die. It wasn’t quick enough for some really vociferous groups though.

 

Continue to Part II.

How The West Was Lost

September 20, 2017

The Past Is Prologue:

How The West Was Lost

by

R.E. Prindle

 

The following is a quote from Vo. V of Mark Sullivan’s great social history, Our Times. The quote is a critique of Woodrow Wilson’s politics:

Of the effects of (WWI) on America, by far the most fundamental was our submission to autocracy in government. Every male between 18 and 45 had been deprived of freedom of his body – for refusing or evading the surrender, 163,738 were apprehended and disciplined, many by jail sentences. Every person had been deprived of freedom of his tongue, no one could utter dissent from the purpose or the method of war – for violating the sedition act, 1597 persons were arrested. Every business man was shorn of dominion over his factory or store, every housewife surrendered control of her table, every farmer was forbidden to sell his wheat except at the price the government fixed. Our institutions, the railroads, the telephones and telegraphs, the coal mines were taken under government control—the list was complete when, after the war and preceding the Peace Conference, Wilson took control of the trans-Atlantic cables. The prohibition of individual liberty in the interest of the state could hardly be more complete. “In the six months after our entry into the war the United States had been transformed from a highly individualistic system…into what was almost a great socialistic state in which the control of the whole industry, life and purpose of the nation was directed from Washington. It was an amazing transformation, for nothing like it had ever been attempted before on any such scale, and the process was wholly antipathetic to our ordinary ways of doing things.” It was the greatest submission by the individual to the state that had occurred in any country at any time. It was an abrupt reversal of the evolution that had been under way for centuries. Since the Magna Charta, substantially all political change had been in the direction of cumulative taking of power from the state for the benefit of the individual. Now in six months, in America the state took back, the individual gave up, what had taken centuries of contest to win.

It was not merely that we had passed through the experience of enforced submission or voluntary surrender or both. The results remained with us. Government had learned that we could be led to do it, had learned the technique of bringing the individual to give up his liberty, the cunning of propaganda, the artfulness of slogans, and the other methods for inciting mass solidarity and mass action, for causing majorities to insist on conformance by minorities.

The purpose for which we did this, as described by the one who urged us to it and led us into it was “the destruction of every arbitrary power anywhere,” “ to make the world safe for democracy,” a purpose to save the peoples of all nations, including and especially Germany, from autocratic government; a purpose to have the individualist ideal of society…triumph in a struggle against the ideal of regimentation….

That purpose reviewed fifteen years later in the light of what had meantime happened in the world, seemed very ironic indeed – Germany and Italy under dictators, Russia under a dictatorship called proletarian but more extreme in its deprivation of individual liberty than any personal dictator or absolute monarch attempted, American industry and social organization in the beginning of what was aimed toward regimentation. (Roosevelt administration.) End of quote’

 

Thus Wilson’s socialist politics violently wrenched Americans from a history of freedom into one of servitude. The people who aided Wilson in his attempt at a dictatorship and socialist organization of society did not disappear when Harding was elected. The Council On Foreign Affairs was set up in 1921 on Wilsonian principles. They continued in their attempt to shape America into a socialist state hindered by the three Republican presidents of the twenties, finally getting their man FDR elected in 1932. They then, the same Wilsonian crowd, returned to power setting about to complete what Wilson had begun.

Much of their program was achieved but hindered by the Second World War and Roosevelt’s death. Then began a long clandestine effort to change American mores. They seized moral control so that any who dissented from their program was labeled as anti-social, a racist or whatever. Then, when Obama was elected their man was in the Office again. Obama immediately set about to reestablish the Wilsonian dictatorship. He made great strides but the CFR wished to proceed more or less Constitutionally so they allowed an election fully expecting it to be between their two candidates Jeb Bush and Hillary Clinton. A wild card, Donald Trump, unexpectedly ‘stole’ the election. Had Hillary been elected she would have been able to complete the socialist revolution clamping the Wilsonian dictatorship on us.

Currently they are involved in discrediting Pres. Trump in preparation for forcing him to resign as they did Richard Nixon. I’m sure they will succeed.

A Review:

David Amram’s Vibrations and Offbeat

by

R.E. Prindle

 

Amram, David: Downbeat: Thunder’s Mouth Press, 2002

Amram, David: Vibrations, original MacMillan’s 1968, this issue Thunder’s Mouth Press 2001

Wakefield, Dan: New York In The Fifties, Houghton, Mifflin/Seymour Lawrence, 1992

 

While apparently but few have ever heard of David Amram yet he was a significant figure in the Sixties and beyond. He was or is a musician, French Horn player and composer. A couple of his movie soundtrack credits, The Manchurian Candidate and Splendor In The Grass of the Fifties give some indication of his recognition in the entertainment world although having seen both movies I had no idea he scored them while Imdb gives credit to Amram and Irving Berlin and Grass to a Euphemia Allen. So there you have it.

No one to whom I have mentioned him has ever heard of him. As I was in the record business in the Sixties and Seventies I knew the name but nothing more. I don’t recollect selling any of his records or even carrying them. I called his name up on Amazon’s Echo or Alexa and listened to a couple hours of stuff a couple of times and while the music is pleasant enough I find it undistinguished.

My attention for this review was brought to me because his book Offbeat is a record of his association with Jack Kerouac the author and founder of the Beats. I will deal with the association in the appropriate place. Vibrations, David’s first book, is a discussion of his life from birth in 1930 to his thirty seventh year in 1967, the book was published in 1968. Vibrations is a very interesting psychological study whether the reader has heard of Amram or not.   As of this writing (8/2/17) he is still living at 87 years and looking very presentable. Significantly he doesn’t call Vibrations an autobiography but a memoir.

David was born in Feasterville, Pennsylvania, where he spent his early years on a farm until his father took a war job and moved the family to Washington DC in 1942, the move was very traumatic for twelve-year old David who loved his life on the farm and never recovered from losing it. Later in life he would buy a farm.

The move to DC was especially traumatic because his family moved into a house in what was called a checkerboard neighborhood, that is a mixed Negro and White area. David and his family were themselves Jewish. The central childhood fixation that governed David’s life was when he entered Gordon Jr. High. He describes the experience in detail and since it is so important to the telling of his story I will quote in full, pp. 17-18:

A few days later I entered Gordon Junior High School. Because I had just come from a small rural school, Gordon Junior High seemed enormous. The playground alone was larger than the entire school area in the country. The atmosphere was completely different because of the large number of students, the fact that it was a southern school and the air of seething violence that seemed to be everywhere. The atmosphere of violence was constant and when it erupted the teachers as well as the students seemed to take the idea of fighting for granted.

The moment I arrived I saw three or four serious fights in the school playground.

Six or seven boys were holding someone’s arms behind him while he was being smashed and stomped by two or three others. I was used to being in fights myself, but at least we used to go at it one at a time and when I got to be a good fighter myself, the fights finally stopped. But I noticed that here the parents of some of the smaller kids led them right into school or they came in with older kids who served as protection. It took me a little while to realize there were several organized gangs in the school, including one called the Foggybottom Gang. My sister was going to boarding school in Florida because of her health. I was sure glad she didn’t have to through this with me. When we had gone to school in the country she used to lie down on the floor of the car on the way home so the kids wouldn’t see her. She was terrified then because of the abuse I used to take being called a Jew. I had gotten used to it, but she never could.

But there at least she was safe on the floor of the car. In 1942 at Gordon Junior High no one was safe. Even teachers- those who couldn’t fight back- were in danger of being punched pummeled kicked or even knifed. It was a madhouse and I enjoyed every minute of it. I had never liked school anyway except for music and sports, so the chaotic conditions in the classroom, with kids yelling and insulting the teachers, setting their desks on fire, throwing snowballs with razors and rocks inside, fighting and even one student being pushed out the window- it all seemed wonderful and exciting to me. By the third day I felt at home. The classes were so backward that in about thirty minutes I could do all my homework and spend the rest of the afternoon practicing the piano or playing in the back with Walter and some other kids I met.

The fifth day in school I was coming from the science class when a boy named Joe punched me on the shoulder and almost knocked me down.

“Watch that, Joe.” I said.

He seemed surprised that I knew his name. “How do you know my name?” he said.

Suddenly the casual group behind him seemed to become an organized gang standing stiff and hostile. All the kids behind me also stopped and in a few seconds later the immediate rumble was inevitable.

“Never mind how I know your name, just watch who you’re pushing,” I said. With that he threw a right at me. Because I was expecting something like this, I slipped his punch. Next he hit me in the left shoulder, spinning me half around. Then he leaped for me and I caught him with my right elbow in the stomach, hit him three or four times in the face put my leg behind him, hit him on the Adam’s apple and knocked him backward into a locker. He didn’t feel like fighting anymore.

Then all of a sudden, one of the larger teachers materialized out of nowhere, hit me in the face and knocked me down. He then proceeded to knock four or five other students as well while everyone else scattered. I was stunned. Kids who hadn’t even had anything to do with the fight were lying on the floor, wondering what had happened. He pulled up and marched us up to the principal’s office. While we were waiting for the principal to come out, another teacher was rushing down the hall, yelling for the teacher to get to another class where a serious fight was going on. He left and by the time the principal came back, Joe and some of the other students had slipped out of the office leaving just one other boy and myself. The principal was a kindly old man in his seventies and obviously was nearly ready to retire. His name was Mr. Winston, a sweet old man with white hair, a white mustache, stooped and worn out by all the years in Washington’s public school system and very upset about the chaos that had developed since the war began and the younger teachers were all away.

“Boys,” he said in a genteel southern moan, “The good Lord didn’t put you on earth to act like animals. Fighting is for an animal, not for gentlemen. I want you two boys to shake hands and promise never to fight no more.”

“But I wasn’t even fighting,” said the other poor boy, about to break into tears.

“Don’t sass me son, I don’t even want your name. Just don’t let me see you in here again with fights. I don’t know what’s happened to the school and to young people today. In my day people would fight each other fair and square, out behind the schoolhouse. It’s just with the fathers away, there doesn’t seem to be any discipline.” He looked through his thick glasses at both of us almost expecting us to sympathize with him. “All right, boys,” he said wearily, “you all go back to your classes and don’t let me see you in here again.”

We got up and left and went back to our classes. After a hysterical Latin class, during which the teacher, a kindly woman in her fifties with an incredible case of dandruff, was shouted down and almost knocked to the floor by one of the students, I left in disgust. I knew you weren’t going to learn anything that way. Outside I saw Joe and the members of the Foggy Bottom Gang waiting. I noticed that two of them had knives, which I could see glinting in the sun. They were not switchblades but the kind of knife used for shucking oysters in Chesapeake Bay, easy to hide in your pants and very sharp. I had heard of several stabbings the year before, and I didn’t want to be the first victim of the new academic year, so I went out the back way through the boiler room and walked home.

And David says he loved that and was right at home. Apart from pretty spectacular total recall the story sets out the problem of Black and White relations from then on. Of course the effect of this incredible first week at school was very traumatic for David fixating him it would seem with a variation of the Stockholm syndrome. Nor was this an isolated incident but the ‘normal’ situation that would go on for years, his entire youth, in David’s checkerboard neighborhood.   While seeming to maintain a rigid separation between his Black and White identities as well as White and Jewish identities his primary identity seemed to be White during this period while he sank into a medium grade depression. He immersed his mind in music to escape his desperate situation and his music the rather odd combination of French Horn and Negro Jazz. Probably the French Horn was a desperate clinging to his White identity.

But, first let us put his situation into a perspective that must lead to the Supreme Court decision of Brown vs. The Board Of Education. The Brown decision assumed that schools were not segregated and that there was no experience to indicate what the result of integration would be. Yet, here in DC in the forties and probably the thirties one has a sociological situation that indicates precisely what the result would be. There was no need for guesswork.

The Supreme Court justices who would make the Brown decision had integration information on the residential level that was horrendous. Eventually all the White people would leave DC or were driven out by the Negroes and DC became something of a cauldron of crime. One in which even Negroes were desperate to escape.

The schools were such that, as in Amram’s case he was terrorized for life but the White fantasy was that no resistance by Whites should be offered to the atrocities. Now, this was not just young Negroes mixed with young Whites. In high schools grown men were entered as students who then directed the young Negroes in terrorizing the Whites to gain control and dominance. Thus,. Whites were taught or required to accept the criminal behavior quietly or they would be charged with the horrendous crime of ‘racism’. If they fought back win or lose they would be charged as the aggressors and have their young lives destroyed, sacrificed on the altar of integration. The saying then and now was ‘you have to break a few eggs to make an omelet. Interestingly David has a song with the refrain, ‘all my eggs are broken.’

Any rational White person could see and understand the result of forced integration. Whites were being denied equality and their rights, essentially enslaved to the Negroes. The Whites of the South against whom the Brown decision was actually directed with their long experience with the Negro were clear as to the outcome. If nothing else they had this sociological experiment in DC before their eyes as well as the deplorable conditions in Northern schools which were already integrated. It was quite obvious that integration would lead to disintegration of society so it must be obvious that the intent of the Supreme Court justices was the disintegration of society.

The Southern Whites therefore put up a stout resistance refusing to accept the Justices’ decision which, after all, was merely the Justices’ intention. It would take the Executive to enforce the decision. This led then President Eisenhower to his decision to mobilize army troops and if tanks were not used my memory projected them on the scene. These were regular Army bearing arms to conduct a Negro Student into Little Rock’s Central High School.

Of course, the propaganda value of a switchblade bearing six foot four, two hundred pound Negro giant being led by an army squad into the high school was nil. Not being totally ignorant of propaganda effects, as their model student they chose a petite little girl in a pink pinafore and pigtails to be escorted by appropriately huge soldiers bearing arms. Resistance at that point was futile and Little Rock’s Central High was turned into the same hell hole that David Amram experienced at DC’s Gordon Jr. High. Rape and turmoil.

In today’s schools, one doesn’t see too many petite Negro girls wearing pink pinafores with their hair in pigtails. The propaganda effect of Eisenhower’s action was that the US government valued Negroes over Whites and that has been proven in the sequel. No integrated school today is an educational institution. Today, however, as well as knives, guns are much in use, so students pass metal detectors on the way to classes. Was Brown an improvement in race relations? As the current situation was predictable it must have been according to plan.

David Amram endured this torture all through Jr. High and High School. He must have needed some escape and he found it in his music allowing him to retreat into the safety of his own mind. Trapped in a Negro culture the music given him to express himself was Negro jazz. However the instrument he chose was the French Horn which is not a jazz instrument. He might have done better to have chosen the saxophone or trumpet if he had really chosen to excel as a jazz musician. Rather the French Horn was his rather obvious connection to his White heritage. He carried it around with him like a child and his security blanket.

Perhaps in an effort to gain some security he sought the company of Negro musicians who accepted him and his French Horn although they usually remarked: ‘Hmm, a French Horn, you don’t see those much in jazz bands.’ I never have. David must have been a semi-comical figure on the band stand. ‘Who’s the dude with the French Horn?’ Thus he had a presence in the DC area.   I presume he graduated high school although he says that what with the constant chaos in class the academic standards weren’t too demanding. Sufficient to say he attained a degree of competence on his symbolic French Horn.

I suspect that he was a mental wreck by his late teen years. The military draft had not been discontinued after the war so the probable necessity of serving in the military loomed before him. He solved this problem by volunteering just as the Korean War burst upon the scene.

Following so quickly on the heels of the Second World War the Korean War, referred to as a ‘police action’ had a psychologically disturbing effect on society especially just after the Soviet Union exploded their own atomic bomb in 1949, relying heavily on US spies. The idea that Americans would betray the country to Russians was very traumatic, causing a lot of self-doubt. It shook the country to its foundations.

-II-

David was fifteen when WWII ended and he probably graduated high school in 1948. The Korean War began in June of 1950. The military draft was still in effect so rather than wait to be called up David volunteered for a two year tour of duty in the Army. Joining the Army also got him out of DC a movthat might have been more difficult otherwise. For the first time since Jr. High, then, he was removed from a Negro environment. The military at the time was averse to social experiments so there were few Negroes in the Army. The Army, of course, had had Negro regiments since the Civil War but they had White officers and were not integrated otherwise. The Navy had never had Negro sailors except for Stewards and other service personnel and would evade integration until 1957.

While his memoir balances David’s Negro, Caucasian and Jewish heritages it must have been true that the Negro characteristics of his heritage dominated his personality at the time. He was clearly a hipster and may have been what Norman Mailer called a White Negro. Certainly his speech must have been heavily Negro and hipster, or cat, to use an alternate term.

At any rate with his trusty French Horn tucked under his arm he began his military experience. As luck would have it he was not sent to Korea but to the other side of the world to monitor the Germans and keep the Soviets on their side of the Iron Curtain. The fear of an invasion of Europe by the Soviets kept people on edge along with the A-bomb.

Psychologically his Army service must have been a healing period for David’s mind even if the military experience is nearly as traumatic as David’s DC Negroland life. But, the Army would probably have been less dangerous to navigate. And then, at twenty he was older and more able to deal with things.

To compare my own experience of a very difficult childhood that left me with certain psychological impairments and my military experience following immediately after high school graduation I was removed from the scene of my youthful pressures, and, even though under the stresses of the military, my mind began healing as soon as I left the scene of their creation so about eight months on the worst psychological effects lifted much to my relief. I’m sure that happened to David also because like me he spent the next decade or so in the process of realizing not only his White heritage but even more deeply his Jewish heritage. At this period he became a Jew. Indeed, his memoir that carries his life only up to the age of 37 was a record of that journey of realization.

David’s descriptions of his states of mind and person are presented only incidentally. There are no detached descriptions and no analysis. So looking through his narrative one sees a beat up hommey running very nearly on auto-pilot, unkempt, close to dirty, making his way through the army. His trusty French Horn removes him from the more onerous aspects of army life into a twilight zone of musical misfits forming the Seventh Army Band.

As David describes the band they are one subversive lot, refusing to wear their uniforms properly while evading all other regulations to the best of their ability. It should be noted that most were draftees and not regular Army. There was always conflict between those coerced to serve and the regulars who chose military service as their vocation, so his group wasn’t too far out of line. David describes how he grew his hair as long as possible carefully stuffing it under his hat. I know where that’s at. I too was I wouldn’t say rebellious, bur resentful, not only of the Navy but of life, I too grew my hair as long as possible and stuffed it under my hat.

I hadn’t his congenial atmosphere but I’m sure that being in with these musicians eased his two years which in different circumstances might have been disastrous. With a better frame of mind his tour of duty would have been delightful as the band toured Europe giving concerts thereby living the high life compared to foot troops.

Somewhat rescued from himself David was discharged into the world in 1953 having contributed his two years to the destiny of America. However he was still an ill man suffering the after effects of Washington DC. Consequently unable to face returning to that future he chose not to return to the United States taking up residency in Paris instead.

He was still a beat up hommey hence he chose the Bohemian way of life. While he wallowed in his misery his intention was still to reclaim the Feasterville life he enjoyed before his disastrous removal to DC. Thus, after gathering his psychological bearings to some extent he returned to the US landing in NYC in 1955. Having no desire to return to the horrific memories of DC he found his way to Greenwich Village and the Boho way of life.

-III-

From 1955 when David Amram returned to the US from Europe to 1966 when he climbed the mountain of respectability to become the resident composer of the New York Philharmonic was a short eleven years, only a decade. For the major part of those years David was a dirty, ragged Bohemian who most frequently offended his friends by his appearance and the rat holes he lived in, by his own admission. His depression must have been fairly deep yet he avoided drugs in a druggy atmosphere, stayed fairly sober and worked like the devil.

He had been advised that composing music would be his deliverance rather than his horn playing. Indeed, while David assures us that he was a superior horn player a professional shows up, befriends him, and gives him lessons on horn playing to correct his defects. Regardless then of David’s self-evaluation capable horn players thought he needed help. Composing was to be his meal ticket.

Now, let us concentrate on the subject of Amram’s second book, Offbeat, concerning his relationship with the writer Jack Kerouac. I’m sure that most people will recognize Kerouac as the author of the Beat bible, On The Road. Perhaps some of those know that Kerouac wrote reams of material throughout a couple dozen books. Critics at the time castigated the writer as close to worthless. I have to agree with them although I have to say that Kerouac is one of the all time greatest word slingers. The words slip mellifluously from his pen but with small content. His books are the equivalent of well produced B movies. For me they always leave a bad taste. I mean, he wrote about bums.

Kerouac had a difficult time getting On The Road published. Indeed from the time he wrote the book to its publication he wrote ten other unpublished books and he didn’t stop there. I was probably among the first to read On The Road. The Beats, of which Kerouac is considered the originator, were considered to be revolutionary, but as unsavory types they succeeded indirectly. Revolution was in the air in the Fifties through the Sixties and it permeated my time in the US Navy just before the beginning of 1957 through 1959.

My ship was leaving for a Pacific tour of duty at the end of the summer of 1957. Just before we shoved off, this is true, a sailor on the dock passed a blue bound advance copy to our Communist Yeoman telling him this was an important book for the revolution. I missed what was revolutionary about it reading only about a bunch of footloose losers. It was talked about aboard ship however and it changed attitudes.

Subsequently the book became a bible of sorts for a certain type of guy. I could never understand why but it was a major influence on their attitude toward life.

So, Offbeat is a three hundred page book about Jack and David’s relationship. David met him in 1956 just as the Beat movement was about to surface nationwide. According to David in Offbeat their relationship was intense; at times one can almost believe that they were married. David says that he wrote the book at the insistence of a friend who thought Dave’s experiences were too valuable to go unrecorded. However, in Dave’s six hundred page memoir Vibrations Kerouac gets only a couple mentions with no indication of an involved relationship, not even a hint of Kerouac’s significance. Where the truth lies, from my reading is indeterminate. Nonetheless certain indisputable facts are recorded.

In 1959 Kerouac wrote the script for a movie titled Pull My Daisy. A short film of twenty minutes. David was asked to score the film. His accounts between Downbeat and Vibrations vary wildly. In Downbeat he says Jack asked him to score it; in Vibrations he says Leslie and Frank did. I would imagine most people have not heard of the movie, Pull My Daisy. David makes it sound like a major cultural event. I have watched part of it. I left off maybe halfway through. David who is a real booster of anything his friends did thought it was terrific.

For those immersed in the Beat period it may be of interest to see their heroes in action. Ginsberg, Corso, Amram, they’re all there in their beatnik glory. For my tastes they looked like a bunch of bums goofing around a dump of a house. In Variations David gives credit for the film to the artist Alfred Leslie and the filmmaker Robert Frank. Leslie was an artist, apparently of some renown, I have to confess I have never heard of him, he has a couple of published collections, while Robert Frank has a reputation as an early ‘experimental’ filmmaker. Having become somewhat familiar with various experimental films I find them more self-indulgent than impressive.

In Offbeat David characterizes the performance as improvisational to the nth degree, the actors cutting up in totally undisciplined disarray. In Variations he portrays the filming as carefully planned by Leslie and Frank. Indeed Leslie ‘revealed’ in 1968 that while the production was thought to be improvisational it was actually carefully plotted. You’d have to read the sources to make up your own mind. Offbeat seems the most reasonable approach to me.

It is a silent film with no dialogue but Kerouac does a voice over completely improvised according to David while David improvises the musical background as Kerouac speaks. He says Kerouac and he were satisfied with the result while Leslie and Frank wished to make several takes to get the best possible results. Kerouac and Amram who value extemporaneity more than a hoped for perfection demur but agree to one more take and then refuse any further effort.

In Variations David says the he reworked his music separately seeking perfection corroborating Leslie’s 1968 revelation. There does seem to be a clash of ideals that reduces the integrity of David’s two texts while casting doubt on the veracity of his memories.

Dan Wakefield in his 1992 memoir, New York In The Fifties makes mention of Amram, usually positive and even admiring, as a spreader of sunshine so I suspect David of speaking well, putting things in their best light for the occasion rather than strict accuracy. This is nowhere more evident than in his account of poetry readings. He credits Kerouac and himself as introducing musically accompanied readings to Bohemia in New York. This is probably true as Kerouac and Ginsberg had been doing the same in San Francisco. I think he gives too much credit also to the quality of the poets and their poetry. I attended a coupe readings in North Beach, San Francisco and came away singularly unimpressed with the poetry although the social scene was nice.

For some delightful accounts of poetry reading in the New York of the Sixties Ed Sanders of the Fugs has wonderful accounts in his Tales Of Beatnik Glory. There are also some filmed readings on the internet, but without the ambience of being in the audience it’s not the same thing.

While David is great for waxing enthusiastic about his relationship with his horn he fades away on the historical background of his activities. For instance, he mentions the jazz bar the Five Spot as being important but fails to give context. Dan Wakefield on the other hand found the Five Spot so significant that he goes into great detail even providing some information on its ambiance. In fact, those places, jazz clubs, were holes requiring a great deal of enthusiasm for jazz to endure the environment.

I never visited any NYC jazz clubs during the day but I did pay a visit to the Blackhawk in San Francisco. The Blackhawk was one of the premier jazz clubs in the country. Let me say from the outset that I am not a jazz buff. The depression, pain and rage that underlies the music is offensive to my tastes, especially the classic jazz of the Fifties. The Negro artists of the Fifties were sui generis. As they aged they were never replaced although that fact seems to have gone unnoticed. Jazz began withering during the Sixties, was commercialized in the seventies and eighties and what remains is probably formulaic today.

The mystique of the Negro players was incredible. If the Blackhawk was any indication the club was a church for jazzists and the players were its high priests. Essentially they could get away with anything in those dark nasty hypnotic caves. The Negro artists were themselves worshipped by the Whites. Dan Wakefield tells the following story of one of the highest of the priesthood Charlie Mingus, p. 309:Mingus was a figure all right, and could be as dramatic and surprising off stage as on. The novelist and screenwriter Rudy Wurlitzer will never forget the time he took a beautiful girl to the Five Spot when he was nineteen years old. “I wanted to impress her,” he says. “Mingus was playing, and I could tell he noticed the girl- everyone noticed her. When the last set was over, Mingus came up to our table and took out a pair of handcuffs. He didn’t say a word, just clamped one of the handcuffs on his own wrist and then clamped the other on the wrist of my date. She didn’t say anything, and he pulled up her arm, so she stood up, and then they walked out the door together, neither of them saying anything.”

Of course, the important thing here is that Wurlitzer made no protest, he acquiesced in her abduction although he was responsible for her safety. No one else in the jazz church said anything either. The high priest had his prerogatives. That and the mystique accorded to the Magic Negro.

Indeed, Amram, Wakefield and others were all working hard for the integration of the bands themselves, perhaps thinking that was a panacea for something. Wakefield himself, accounts the advent of the Beatles in 1964 as the disruption of the integration dream and perhaps the beginning of the end for jazz. Certainly, the musical priesthood was transferred from Negroes to Whites when the Beatles became the high priests. As Wakefield complains, the Beatles and the bands following from England were all White. So, while there were a few exceptions in Rock- Jimi Hendrix- that jazz dream was destroyed. It should be noticed that there is a Hendrix church. Negro energy was transferred to the all Black soul bands of the Sixties led by Detroit’s Motown label.

According to Wakefield the Lit., Music and Art crowds of Greenwich Village were separate, the artists favoring the Cedar Tavern, the Literature crowd the White Horse Tavern and the music crowd the Village Vanguard and other spots. The Folk crowd was not prominent in Wakefield’s mind during the Fifties for some reason. They were certainly there. Wakefield says that while most crowds stuck to respective groups Amram was a curiosity as he moved freely through all groups with a reputation as Mr. Sunshine.

Indeed, he was something of a touch giving small sums of money to anyone who asked for it. He complains about being broke while at the same time he says that he gave his money away, living in digs few would tolerate. If his sweater, of which he speaks so lovingly, hadn’t been so raggedy, worn and smelly he would have given that off his back to anyone willing to take it. A real St. Francis. He must, then, have had many acquaintances who would speak well of him in place of returning the loans.

In addition to pushing for integrated bands and racial harmony David rediscovered his own racial roots in Judaism. A synagogue beneath his window whose religious music rose through it awakened his interest through its mournful dirge answering to his own depression as jazz did. Consequently David offered to compose sacred music for the services, which music was well received. Thus his ties to Judaism were revived.

As a composer he composed furiously, able to turn out reams and reams of compositions. Now, the Fifties, they were not a dull time unless, of course, you were dull, although my own familiarity with the later years was disrupted by entering the Navy, losing contact with those critical years for the future; I was in exile, as it were, in the military. Nevertheless, so-called world music began after WWII in the nascent Folk music scene by the group called the Weavers led by the ever present Pete Seeger. Wakefield seems to have ignored the Folkies but Folk was very largely White as well as Rock music and the two actually coalesced in the Sixties.

After the War it seems like there were hundreds of songs celebrating the charms of far away places with strange sounding names. Martin Denny’s LP The Quiet Village was a whole album of songs celebrating exotic tropical paradises.

At this time also Electra Records began a series of LPs of ethnic musics that was very in with the knowing, the avant guard. On its Nonesuch label Electra issued two terrific albums of Balinese Gamelon music including the memorable Ramayana Monkey Chant, a real listening experience. A Bulgarian record was much revered and well as several others. The African record Missa Luba is a not to be missed classic. That’s only if you are of the ilk otherwise you won’t appreciate such discs

So, David was a leader of this Travel Poster Crowd. Travel posters of far away place were de riguer on everyone’s walls especially after the Boeing 707 changed international travel in 1959. David Amram was riding the wave of a future on that score even though jazz was emitting a dying moan. By the seventies these Fifties jazz artists were so passe that a record producer by the name of Creed Taylor fashioned a line of easy listening records employing various of these old passe Negro players with reputations as a front to legitimize his easy listening and he made a fortune. There’s gold out there you just have to know where to find it. It was the end of an era.

David then had conquered all musical worlds except for the White world of classical music. As I see it he had made a million friends with his zippity doo dah attitude expecially and most importantly in the Jewish religious world.

The background story here is unknown or, at least, undiscovered by me. The New York Philharmonic had never had a resident composer but in 1966 the position was created for David. David was appreciative and by his account overwhelmed and well he might be. There appears to have been a great gulf between what he was doing and the professional world of the New York Philharmonic of Leonard Bernstein.

The impression one gets is that the Philharmonic gave into pressure from somewhere to create a respectable paying position for Dave. In doing so, of course, they enabled him to rise from his declassed state caused by his entrance into DC’s Gordon Jr. High. He now became a man of all classes and was enabled to regain his lost self-respect. He probably would never fit in to the over world because of the underclass characteristics he had acquired in his long and traumatic exile among the subteranneans.

If I had to guess as to how he was offered his newly created position I think it would be his association with the rabbis and his sacred compositions for them. The upper music world of New York is almost all Jewish. Leonard Bernstein himself, then the conductor of the Philharmonic, was himself Jewish and subject to pressure from the rabbis. I’m guessing it was all in the synagogue, but David realized his goal and immediately commemorated it in his memoir. David was only thirty-seven, living today at 87 his life wasn’t even half over.

-IV-

Up to 1967 David’s is an American story. A collection of racial, ethnic and religious heritages to be reconciled: in his case White American, Jew and Negro. The conflation of all three could have destroyed David’s life but he had what it took to blast through to salvation. Salvation to at least 1967, the sequel remains to be seen. David continues his story in a 2008 book he titles Upbeat: Nine Lives Of A Musical Cat. I have yet to read that but I may report on it when I do.

David grew up under a Melting Pot hope of immigration. Under that fantasy the immigrants would gradually assimilate themselves to Anglo-American mores, forget their antecedents and then the US would be a great big harmonious happy family Anglo Saxon family because Anglo-Saxons had discovered he secret of governing. One fault to that theory was that Negroes weren’t immigrants and the Melting Pot theory didn’t include the Negro race. No matter what happened the Negro problem would be insoluble.

The theory also broke down because some immigrant groups wished to impose their mores on the Anglo-Saxons rather than those of the Anglo-Saxons on them. Chief among those were those of David’s Jewish heritage. As it was their intention to impose their mores made it necessary to dissolve the Melting Pot into its constituent parts and then reassemble them under the Jewish aegis. Thus for several years after 1945 it became a custom to have various national festivals in which people dressed in their national dress and did a couple dances. That didn’t last too long because under American conditions it was humiliating; we were supposed to be one and for most other national customs really had no place. The time for that sort of celebration had passed.

David’s Negro heritage was a more convenient lever for disintegration as well as his Jewish heritage itself. Lest we have confusion let me say I share David’s three heritages, as do all Americans whether they realize it or not, plus a heritage of the orphanage and several lesser ones, most notable Polish an English but I consider myself American First, White second and devil take the hindmost. But, we all, because of immigration, share in each and every heritage. The Jews, the Negroes and whoever have given up any exclusivity to their heritage, like it or not.

As there was tremendous White guilt over slavery this was cultivated as the Negro question and was a great tool as witness the White girl Mingus abducted for sexual purposes no doubt and neither she nor her boyfriend nor anyone objected. No other race or nationality could have pulled that off. It is significant that Mingus knew he could. No one has to excuse his conduct because he was Black and objecting would make one a racist. Absolute nonsense. Injustice wherever it is found should be resisted.

It is also indicative of how society had disintegrated when David as a Jew, within the synagogue if I’m correct, had the job of resident composer created just for him.

America rather than being a Melting Pot was being created as diverse before our eyes consolidating under a Jewish aegis.

In order to do that it is necessary to destroy the symbols of power of the dominant culture. Thus, the well documented War on Christmas, reducing it from a national custom to a parochial one, depriving Anglo-Saxon of the notion that America is Christian. This, even though the Jews are only two percent of the population. In the last couple of years any symbol ‘offensive’ to a non-White culture such as statues, trademarks etc. are being forcibly removed by sub-cultures. Not only the Confederate flag but the US flag itself is under assault. The law, the Supreme Court Justices, enforces minority rights against the majority. Since the election of Trump resistance to these encroachments has become permissible but not legal.

The problem is not that sub-cultures want their own monuments that exist along side traditional monuments, names, titles, whatever but that the dominant culture and its monuments shall be replaced by the minority cultures and monuments.

Rather than follow that line of reasoning for the time being I think I will break off here and continue when I have read Amram’s Upbeat, see how the nine lives have worked out.

The Myth Of The Twenty-First Century

The Red Octopus vs. The Nazi Hydra

Multi-Culturists Seeking A Monoculture

by

R.E. Prindle

 

The agenda of the Octopus hasn’t changed since its inception in the French Revolution, nor have its methods. Invoked in 1789 it faced entrenched cultural norms and mores that seemed unchangeable. But the Unnamed Superiors attacked the problem with determination and ingenuity. While there were always dissenting minorities in the grand manner European mores could be divided between Christian mores and Jewish mores. This had been a societal problem in societies since Jewish mores had come into existence in 2000 BC during the transition from the Age of Taurus to the Age of Aries. The problem was exacerbated during the transition from Aries to Pisces. Jewish Taurian mores became even more antiquated and hence distinct thus always being in conflict with the societies they inhabited.

Largely suppressed in Europe during the Christian centuries while marginalized as a people the French Revolution emancipated both mores and people allowing them to compete on more favorable terms of which they took and have taken full advantage. Without resources or population to seek a military solution the Jews chose to project a cultural war. To augment their numbers and gain credibility they chose a ‘multi-cultural’ approach. They evolved the tactic of combining with other minority groups against the dominant culture.

Led sometimes by brilliant figures such as Sigmund Freud and sometimes dogged battlers not quite so brilliant they sought to undermine the mores of the dominant culture. Thus following the tutelage of Sigmund Freud they constantly ridiculed the dominant cultures mores while putting themselves forward as faultless paragons of virtue.

Of course as critics they never had to try the faultless abilities they said they possessed. When their opportunity came with the founding of Israel in 1948 they came a-cropping on all accounts.

As the leading exponent of multi-culturalism the Jews have been immensely successful. They are the engine that drives multi-culturalism. For some reason the dominant culture refuses to acknowledge this monumental people’s contribution to history. You can read multi-volume histories of the world that hardly mention Jewish contributions to fundamental changes in societies. Even in our day Sigmund Freud has been discarded by the dominant culture as some kind of crank. His tremendous influence goes unrecognized.

Of course, to exclude a whole people of such significance distorts that history out of recognition, especially, as I say, they are the engine, the heart of the Red Octopus.

The Octopus always takes the virtuous approach. They always appear to mean good. There is no direct assault on the dominant culture. The effort is always to seize on a shortcoming of the culture and use that as a critical lever to separate the society into its component separate cultures. The United States was tailor made for the process with its plethora of races and nationalities patched together and held in place by the dominant culture that constantly gave ground.

A very similar situation occurred in the Austrian Empire including the two semi-autonomous kingdoms of Hungary and Austria held together by a dominant German culture that disintegrated under the stress of two world wars in the twentieth century. The Jews were the active solvent there too.

Russia also was an amalgamation of diverse cultures and nationalities that was actually conquered by a Jewish led revolution.

The Second World War escalated the dissolution of unity in the United States. There was one attempt from 1870 to 1945 to meld all the various cultures into a melting pot of a single culture in the Aryan mold. The method was wrong; the Jews devised a proper method possibly in the early years of the twentieth century under the tutelage of Sigmund Freud; dissolution from below rather than from above with a reintegration hopefully into one monoculture, one set of mores, and those Jewish.

Eighteenth and nineteenth century culture was unitary in approach on both continents, Europe and North America, under the direction of the dominant Aryan culture. The transition from a monarchical system to a democratic or bourgeois system opened society up to various social forces that were not possible under a monarchy. Rather than a single directing head there were a multitude of competing heads.

Thus, as the US emerged from WWII in 1945 the Jews were the better organized to achieve their goals. This semi-autonomous organized powerful self-sufficient people began the direction of the Red Octopus.

In the eighteenth and nineteenth centuries the media consisted of newspapers and magazines and word of mouth, rather poor means for the dissemination of propaganda compared to the late nineteenth century and early twentieth century invention of electrical media such as movies, radio, TV and phonographs records. These were the means to quickly change mores and change the direction of society. It is no coincidence that in a democracy the Jews seized all them including old fashioned print. With these in their control within a short fifty to sixty years they had dispensed with Aryan mores and set society on its head in preparation for the new Jewish monoculture.

Let us first consider the use of the phonographs record as a medium of change.

 

To be continued…

The Myth Of The Twenty-First Century

Red Octopus vs. The Nazi Hydra

Boring From Within

by

R.E. Prindle

The whole contest between the Red Octopus and The Nazi Hydra was framed on race. The myth was that the evil White Man through no special talent of his own had seized the wealth of the world and subjected the colored peoples from who he stole. Hence the White Man must be made to pay. Pay with his life.

Thus all the colored peoples of the world are arrayed against the evil White Man. IN the US the Democratic Liberal Party is home to the colored peoples and the sanctimonious White Liberal. The next step in the myth was the White Man as the oppressor of Homosexuals and White Women. The motto of the Octopus is Whiteness must disappear from the earth before justice can reign. The plan of action is: Hey, hey, ho, ho, Western Civilization has got to go.

The myth of the Devil White Man began to form in the wake of WWI and the revolutions and skirmishes that continued for several years. WWII put paid to White Supremacy. The Liberal Coalition that contained only a small minority of White men, and those mostly homosexual, began to organize and as a first attack selected the university system of the US.

Red Octopus 3

The Red Octopus , regardless of their enormous crimes against humanity always considered themselves the virtuous Party. The atrocities of two world wars cooled their ardor for violent action. They chose to bore from within. Always a tactic from WWI and before it now became more active. The first all out assault was the so-called Free Speech Movement at the University of California at Berkeley. The Free Speech Movement was the first Occupy assault. A small faction of revolutionaries managed to shut the University down by occupying Halls and preventing the school from functioning.

The action was called the Free Speech Movement because Free Speech in America is a prime virtue. Thus the slogan or name made the assault defensible as a virtuous action. Of course, within the Red Octopus free speech had no place. One either hewed to the Party line or were disciplined or worse.

The Berkeley assault was entirely successful and free speech disappeared on campus. The Movement soon spread across the country, Columbia University of New York being the prime example but the whole Ivy League succumbed immediately. Moving from Free Speech to race the lack of Negroes attending universities was then included in the list of grievances. Race is another virtue thus reinforcing the impregnable virtue of the Movement.

The remarkable thing about the Movement was the complete surrender of college presidents and faculties. It therefore follows that the college administrations were complicit; they were sleeper agents already in place. The first capitulations set the tone for all that followed. Of course having arrogated virtue to themselves any opposition therefore was vile, and being vile anyone holding other views was discreditable. They automatically became racists, anti-Semites, opposed to Blacks and Browns.

Soon they began to lose their jobs often for something they may have said in private or may have said or only reported to have said decades before. To be accused was to be found guilty; no proof was needed.

Once the universities were captured and cleansed and the curriculums appropriated all else followed.

By the 2016 presidential election the stage for the coup to what was euphemistically called the one party system was set. The Red Octopus would be triumphant.

However the Hydra becoming alarmed managed to put forward an able candidate in Donald Trump who moved to disestablish the Octopus and put in place a Hydra agenda.

The stage has now been set for the Clash of the Titans: a global contest for supremacy between the Red Octopus and the Hydra.

 

To be continued…

The Red Octopus vs. The Nazi Hydra

by

R.E. Prindle

 

Back in the Red fifties when the term the Red Octopus was first used to describe Red efforts to seize what was humorously described as the free world we anti-Communists, as yet unnamed, were subjected to all kinds of abuse. ‘A Red under every bed.’ Communists behind the curtains, Communists everywhere, etc. They even wrote songs belittling us, the Chad Mitchell Trio’s John Birch Society. We were denounced as conspiratorial maniacs.

Well, the Reds have more or less succeeded in their revolution, it has happened here. Yet the Reds got used to being victims, they see themselves as downtrodden victims.

Victims need bullies. Hence bullyism is a hot topic of the day. There are only two kinds of people according to the Octopus, the righteous Libs and we evil bullies. I, Evil Bully. The term bully is too great a generalization lacking the human touch. A certain personalization is missing. Thus in the twenties and thirties in reaction to Communism Fascism and Nazism also known as Hitlerism arose.

One would think that WWII put paid to Nazism and Hitlerism not to mention Fascism. NO! They lived on in the Jewish imagination and the Jews gradually convinced all Europeans and White Americans that they were in fact Fascists and Nazis while individually all Little Hitlers, Ugly Americans. The Libs denied this as they considered themselves virtuous so they passed the buck to the deplorable Conservatives who eventually become the Nazi Hydra.

For out of that milieu a great conspiracy had slowly been developing in the mind of the Red Octopus, that of the Nazi Hydra. Thus all societies everywhere have bifurcated into Red Octopi or the Nazi Hydras. At this point the tentacles of the Red Octopus cover the globe but in between the tentacles of the Red Octopus the Nazi Hydra exists. If you locate one branch and lop off the head, while the Octopus seeks out other cells of this pernicious hateful conspiracy, the head grows back again. It’s like anti-Semitism the Hydra must exist to prove the virtue of the Octopus.

And then, just when the Red Octopus thought the Nazi Hydra was successfully contained a head was growing quietly in the disguise of a TV buffoon, the mighty Donald Trump. Throwing off his disguise the Hydra chief unlawfully seized the presidency of the United States of American from the chosen Hillary Clinton.

What had been scheduled to be a contest between the Bush Dynasty and the Clinton Machine became a free for all between the Hydra and the Octopus. Not much of a contest to all appearances. Mobilizing the forces of the free press and free media; a ferocious campaign was conducted in which the Hydra Trump was belittled and the Octopus Clinton enlarged. The polls said Clinton would win. To the ballot boxes! And when the dust had settled and the smoke had cleared there was the Hydra standing on Home Plate while the Octopus had tentacles covering third, second and first but 3+2+1 didn’t add up to a four bagger. Trump was president and Clinton was strumming her guitar and singing the blues, out of tune.

The Hydra couldn’t have won fairly said the Octopus. The Octopus didn’t know how the Hydra had cheated but he had to have, it was the only way he could have won. But how? Ah, the Russians, the Russians are coming they manipulated the election, it was the only way he could have won. But what proof was there?

To be continued…