Chumps Playing Stud

A Review

Wendell Willkie’s

One World

Part 4

by

R.E. Prindle

Would You Buy A Used Car From This Guy?

Would You Buy A Used Car From This Guy?

It’s a lie, it’s a lie,

I say that it’s a scam

For I have been to Derby, Sir

And I’ve seen the Derby ram.

–English Folk Song

This town is full of guys

Who think they’re mighty wise

Just because they know a thing or two.

You can see them everyday

Strolling up and down old Broadway

Telling of the wonders they can do.

There’s con men and theirs boosters

Card sharks and crap shooters

They congregate around the Metropole.

They wear fancy ties and collars

But where do they get their dollars?

They all say they’ve got an

Ace in the hole.

Perico and Schaebel

 

Who are you going to believe? Me, or your lyin’ eyes?

–Chico Marx, a man who should know.

Happy Time

Happy Time

No period in American history has been more misrepresented than the period from 1920 to 1945- the Crash and death of Franklin Roosevelt. They say history is written by the victors and since the period has been written by Jewish legend makers it would seem that the Jews were victors under the aegis of their stooge, Franklin Delano Roosevelt.

As in any legend, and this one might be called the Legend of Hoover and Roosevelt, there must be a hero and a villain. Herbert Hoover is the scapegoat, Roosevelt is the hero and champion of the Jews.

The question is how did Roosevelt become the champion of the Jews? It happened before the presidency or even Roosevelt’s governorship of New York.  After Al Smith the former champion of the Jews failed in 1928 Roosevelt was pushed forward.

We Had A Grand Time

We Had A Grand Time

I am tempted to say that Roosevelt was a Manchurian candidate programmed very early. When he and wife Eleanor worked the Jewish settlement house scene in the first decade of the century they both came under the spell of the Jews.  At the time the daughters of the wealthiest men in New York, in fact the daughters of the Morganites among others descended on the Lower East Side slums to minister to the ‘poor’ Jews.

The Jews at the time just arrived from Russia were in full revolutionary mode. When a group arrived on the Fourth of July they mistook the festivities as a welcome for them. So, you can imagine the effect of these daughters of plutocrats coming to the East Side to ‘welcome’ them had on them.  When Knickerbockers like FDR showed up what better to do than convert them to the cause.  Perhaps it was thought to hypnotize FDR, plant a few post-hypnotic suggestions and groom him for political uses much as Al Smith was being handled.

While hypnotism may seem farfetched for those not familiar with the era remember that Sigmund Freud was a master of hypnotism, nevermind the story that he gave it up. He perfected it and abandoned the crude early method.  Freud had joined the International Order of B’nai B’rith in Vienna in 1895 remaining a lifelong member. You might compare the B’nai B’rith with the Learned Elders of Zion and solve that mystery.

He met with them at least once a week. He says that the members shared his views.  He and they desired the destruction of Europeans and European culture, hence his complaints about contemporary European morality.  He also shared his views with his American nephew the publicist and propagandist Edward Bernays.  Bernays became a master of suggestion.  Suggestion, of course, is the basis of hypnosis.  While I can’t say for sure that FDR was hypnotized I can find no other basis for his slavish devotion to Jewish interests.  That includes his entry into the European war to further Jewish goals.

It is also true that after FDR’s death the Jewish influence in the US government diminished to near zero while the Red hunting began in earnest reversing Rooseveltian policy.

During FDR’s terms in office the integration of international Jewish activities coincide remarkably, more especially in the use of food as a weapon of mass destruction. I have already examined the issue in several articles including the three part Henry Ford And The Jews, other Ford articles and The Secret History Of The Jews In The Twentieth Century.  Henry Ford gave some indication of Jewish plans in his articles in the Dearborn Independent exposing Aaron Sapiro.  Sapiro’s plan or something like it would begin to be implemented in Roosevelt’s New Deal.

I have also explained Jewish hatred of Herbert Hoover in the mentioned essays. He was hated not only for his past effort to rescue Europeans afflicted with starvation but because he was prescient enough to divine Jewish collectivism in the Roosevelt administration but wise enough not to mention the fact by name having learned from the experience of his friend Henry Ford.

Having been frustrated by Harding’s election in 1920 ending their salad days under Wilson one can only imagine the Jews’ elation as they rushed back into DC under the aegis of the Wilson continuator, Roosevelt. Possibly part of their hatred for Hoover was as a scapegoat for their twelve year hiatus from DC.  But now they were back and they were in charge.

Back Again

Back Again

 

Hoover had foreseen their collectivist effect and tried to forewarn but his warning had fallen on deaf ears. Very likely Hoover’s understanding of the situation was far in advance of the public’s as he was much better informed.  He had been part of the battle against the Bolshevics, avatars of collectivism, since 1921 under Harding.  Coolidge had established the FBI in 1924 under the leadership of J. Edgar Hoover. Hoover had augmented it in 1930.  The FBI was primarily established to fight Communism.  The ideology remained central to Edgar Hoover’s approach to the end of his days.  It was probably his fixation on fighting Communism that made him so much disliked by FDR.

Herbert Hoover was also much better informed than the public of the interference in American governmental affairs by the Comintern.

As he feared, the Communist influence flared into near open existence under FDR when one of his first acts as president was to recognize the Soviet Union.  The Ware ring was established as early as 1934 when ominously a Communist takeover of the Department of Agriculture was achieved under Henry Wallace.

As a revolution in government had taken place, as you can imagine the reaction was ferocious and immediate especially when viewed through the lens of the legislation of FDR’s first hundred days. Most of that was declared unconstitutional by the Supreme Court as early as 1935 gutting to a large extent FDR’s New Deal.

We're Here To Get This New Deal Thing On The Road

We’re Here To Get This New Deal Thing On The Road

 Hoover was only one voice criticizing Roosevelt. He had every right to be critical as a tremendous smear campaign, defamation, was launched against him by the Jews and FDR.  Perhaps on one level Hoover was made responsible for the whole Gilded Age and the Republican Interregnum.  As bizarre as it may seem the Administration hauled the surviving members of the Gilded Age before a Congressional committee to ‘explain themselves,’  whatever that might mean.  While the elder J.P. Morgan had left the building FDR humiliated his son also J.P. Morgan by having a dwarf sit on his lap whatever that might mean.  He tried to put Andrew Mellon on trial for whatever charge I haven’t learned.  The whole FDR crowd seem to have ingested the Muckraker ideology and become enraged.

Gustavus Myers always refers to the Gilded Age as Capitalists. I’ve always had trouble understanding what Capitalist meant to Socialists.  Certainly men like the Vanderbilts, Gould and Fisk who were just guys off the street no different in their origins from unskilled laborers had no ideology whatever except to get a pile and hold on to it.  The Gilded Age was just a one shot affair that would never happen again.  It created fabulous opportunities for those who were awake and there and either knew or stumbled upon how to seize the day.  Carpe diem.  Some call it luck.

The Gilded Age itself was a period of rapid discoveries making wonderful things possible. What are you going to see?  The light or the dark?  In 1830 George Stephenson in England invented the railroad.  By the 1850s the East Coast of the US was covered with Short Lines.  About 1850 the Canadian Abraham Gesner discovered how to make kerosene from bituminous coal while in 1851 Samuel Kier discovered how to distil it from oil.

The Civil War masked these phenomenal changes so that they appeared as if by magic after the war. The railroad long lines were already platted during the war while the Union Pacific was actually finished before the 1860s were out.

With Kier’s discovery the useless oil seepages of Western Pennsylvania became useful. The result was the giant corporation Standard Oil.  The railroads had created unheard of fortunes.  Vanderbilt was renowned for having amassed two hundred million.  Before the war this would have been impossible.  The Standard Oil fortunes of which there were many were great but Rockefeller’s held the high ground.  To small minds like that of Gustavus Myers magnitudes of wealth of this order seemed criminal in themselves. He was absolutely enraged that anyone should have so much.  His knee jerk reaction was to advocate simply confiscating the fortunes, in effect stealing them, as was done to the Russian aristocrats following the revolution.  That was some indication of his own morality.

Minds as small as his or even smaller rushed to pass legislation to do so and break up the great combinations at the same time. The very size of Standard Oil made the poor wretches tremble.  So-called anti-trust laws were passed.  It was here that the US made a wrong turn.  Size would be essential in the coming global economy that none of these mental midgets apprehended.

As I say, Myers, Roosevelt, the Jews were reactionaries looking to the past rather than the future. How strange that history should record them as progressives.  The past had been eclipsed by the railroads.  The future that they indicated was a brave new world of unlimited opportunity, uncharted and unvisualized except perhaps by men like Rockefeller.  Small business was for local purposes and farther in the future global purposes large combinations were necessary.  Have you noticed that China has eclipsed the US?

The US sacrificed its future the day Standard Oil was broken up. Had that not happened today Standard Oil would be a mega corporation giving the US precedence in the worldwide contest for supremacy.  Without vision a nation must perish.  The US shrunk on that fateful day.  The torch has now passed to China.  The Middle Kingdom has assumed its ancient stature.

The minds in FDR’s DC were shrunken pitiful things. They punished the doers while rewarding the losers.  The reaction of the doers was intense.  The American Liberty League was formed by prominent industrialists and other business interests that fought hard throughout Roosevelt’s first term but then slacked off.  Foremost among the loudest of the objectors was the radio priest, the Catholic Father Coughlin.  Working out of Detroit he built up a multi-million person audience.  As a Catholic he was well aware of Communist assaults on religion in the Soviet Union.  He had every incentive to denounce the Communist infiltrated Roosevelt administration nor did he mince words in denouncing the Jewish influence.  Branded then with the Jewish ace in the hole of anti-Semite his days were numbered.  He broadcast over the Jewish owned CBS network that censored his show on the grounds of anti-Semitism.

It was inevitable that the Jewish presence in FDR’s government would be noted. He himself was referred to as Rosenfeld.  While the truth was obvious subsequent Jewish historians or legend makers have misrepresented the true state of affairs dismissing all opposition as unjustified and anti-Semitic.

Nor was the administration defenseless. FDR himself used the radio as effectively as Father Coughlin in his weekly Fireside Chats.   Wife Eleanor had her daily syndicated newspaper column to puff things.  Numerous radio commentators such as Raymond Gram Swing denounced the objectors as Fascist and Nazis while numerous columnists such as Walter Winchell gave the administration full support.  A lot of propagandist support was necessary to keep the public baffled.

 

Walter Winchell And All The Ships At Sea

Walter Winchell And All The Ships At Sea

In point of fact Roosevelt did nothing to alleviate the Depression. There were as many unemployed in 1940 as when he took office in 1933.  Billions were being spent on programs making people dependent on the government.  Collectivization was going swimmingly.

His primary concern was to discredit the capable and buy the vote of the incapable. Millions were on relief, hence dependent of Roosevelt himself in their eyes for their very survival, the very bread they ate.  Food as a weapon following the Jewish agenda.  The management of the Russian population by food was now an accomplished fact.  While millions were starving to death or near starvation, long queues of bread seekers stood in the cold to get their daily allotment- if they received their allotment daily.

The US depression was prolonged eight excruciating years until the Jews and Roosevelt involved the US in two wars at one time that upset and ultimately destroyed their plan, albeit in the short term it seemed to be working. Remember the Amalekites, the Jews never give up.

On the other hand the Administration and the Jews crucified anyone who opposed them. To take only two, Herbert Hoover and Henry Ford.  Amongst other offences to Jewish sensibilities both men had interfered with Jewish starvation programs.  Hoover by feeding the starving European millions and Ford by exposing Jewish hopes to seize food monopolies in the US.

In Hoover’s case a tremendous campaign of vilification and defamation was carried on…and on…and on. His glorious early career was viciously nullified, buried, nearly erased from history while his attempts to solve the depression that was actually engineered by the Jews were belittled and held as naught.  The depression was described as the Hoover depression while encampments of unemployed were described as Hoovervilles.  The defamation was actually criminal but it would have been worse than futile to make a court case of it.  Hoover had to grin and bear it for twelve long years until FDR’s death.  Even then the period of rehabilitation that began after the war has been less than complete.  The history books back in the hands of his enemies print the legend rather than the truth.

In the case of Ford not only was he vilified and defamed but serious attempts were made to destroy River Rouge while the internal corruption of his work force destabilized his business while efforts to control it gave him a harsh reputation. During the war serious efforts were being devised to confiscate the whole of Ford Motors.  Nationalizing it that is.  This has been covered up or misrepresented.

Twice, once in 1932 and again in 1936 a Communist column descended on Ford’s River Rouge plant. Had they gotten inside it was their intention to smash Ford’s machines and burn the place to the ground.  The Reds were applauded while Ford’s defense of his property was deemed criminal.   Such was the Roosevelt Administration.

Failing in direct assaults the Communists infiltrated the work force stirring up unrest, sabotaging the process and equipment while stealing whatever they could carry. Ford Motors lost millions in thefts.  In defense Ford employed informers to identify the trouble makers.  This effort was decried as a spy system on ‘honest’ workers.   It was a spy system on the thieves and agitators.

Then in 1935 the Wagner Act benefitting unions and crippling management was passed. As Ford said he was already meeting or exceeding union benefits.  It didn’t matter.  While the Wagner Act wasn’t a law that employers had to have a union the administration meant it that way and interpreted it that way.  Ford, the fairest employer the world had ever seen was reviled while absolute hatred was stirred up against him.

Had a union been installed at Ford he would have had no control of the work force at all. In the early sixties I worked on the line for Fisher Body.  Theft and sabotage were rampant.  In an attempt to hold down thefts employees were checked leaving their shifts, bags and lunch boxes had to be opened.  Complaints were lodged at the union by would be thieves, invasion of privacy was alleged.  The union sprang into action to eliminate security measures.  The company ceased checking and parts and tools simply walked out the door.  Was the union complicit?  I always thought so.

Ford, in a fit of fatuousness in his early years, took to hiring ex-cons to give them another chance. Laudatory on the face of it, all it did was give the cons the opportunity to recruit from and corrupt otherwise honest employees.

Fisher Body followed the same program. There was a large colony of cons at the end of the line just ahead of me.  They used to sit and plan jobs for the weekend, recruiting from the work force.  Fortunately I wasn’t considered reliable enough or I might have been conned into a criminal career.  Others were.

One wonders in reading these Jewish histories whether they are dishonest or hopelessly naïve; I’m guessing dishonest. Thus Ford’s life during the thirties was made miserable by the Jews.  The power Roosevelt granted them was enormous.

Apart from bedeviling opponents like Hoover and Ford, dissidents were pursued and denounced, the constitution be damned. Honest researchers like Mrs.  Elizabeth Dilling, of whom you may never have heard, were reviled in execrable terms beneath the dignity of honorable critics to use.

Mrs. Dilling compiled two large volumes proving the Communist affiliations in the Roosevelt Administration. Her first volume was the Red Network and the companion volume was the Roosevelt Red Record And Its Background.  Both volumes are soundly researched and well documented.  No charges were ever answered, she was merely reviled as a crank.  This was the way it went in the thirties under Roosevelt.

As the thirties drew to a close the Jewish triumph seemed certain but it was necessary for Roosevelt to seek a third term to consolidate the successes. By this time the Jews were entering a full delusional state of mind.

In converting their residence in the United States into a battle between good and evil the Jews had converted themselves from immigrants to founders. As founders they saw themselves as true Americans while the actual founders, the Anglo-Saxons, had become Nazis and Fascists bent on converting this Jewish democratic paradise into an authoritarian State subject to Hitler.  So they had reversed roles assuming a mantle of perfect virtue.

Wendell Willkie

Wendell Willkie

They thus developed a game plan to overcome what they saw as the Nazis in their midst. This would become even more developed post-war.  Of course the transition from the free republic to a satrapy of Stalin had unleashed all kinds of wild intellects with more perfect plans of reconstruction that in their minds were far more perfect than anything the Jews could come up with.  The Technocrats had it all worked out while Huey Long with his Share The Wealth program out Roosevelted Roosevelt.  Upton Sinclair popped up in California with his EPIC program- End Poverty In California.  It was a sensationally active nutcake period.

The Jews concentrated their fire on people like William Dudley Pelley, the American Fuehrer. Pelly was an actual Fascist although his numbers were so insignificant he made the Communists look like the Democratic Party.  With such insignificant numbers of course he could never have been a threat but the Jews blew his significance out of all proportion.  One look at the guy and you knew he wasn’t going anywhere.  The spark of greatness was missing.

Spectacular leaders like Napoleon, Hitler, Stalin, Mussolini or even Franco weren’t just lucky even if the times were right for them, they had the genius, the spark, the inner substance to succeed. Pelley wasn’t even on the sidelines of their field.

Apart from Pelley the Jews had to invent their demons. Fake it in other words.  One of their absurd creations was someone calling himself James True, the scourge of the Jews or something like that.  He advertised in the papers.  Had an actual office with a desk, advertised that he had invented a ‘kike killer’.  Sounded fearsome.

Interviewed by the press his kike killer turned out to be an ordinary black jack, he himself being null and void. So much for the terrible anti-Semitic presence in America.

A threat of a different kind appeared in 1940 with the Phony War in Europe. Roosevelt, the Jews and the English had been beating the drums of war in Europe more insistently.  Roosevelt was taking preparedness seriously.  He was building a war machine furiously while inaugurating the first peacetime conscription ever.  Moved the three mile limit out to Iceland.  Had the good ship Rueben James sunk.  Sent a couple hundred sailors down to have lunch with Davy Jones in his locker. Stretched neutrality almost as far as it would go.  He could have tried harder.

These preparations for war alarmed the non-interventionists that the Administration labeled Isolationists. Always give your opponents a defamatory name.  Thus, the administration good guys were known as Internationalists and the bad guys Isolationists.    The Neutral Party perhaps a more accurate title, the Isolationists correctly advised letting the European combatants fight it out while the US waited on the side to pick up the pieces.

Herbert Hoover who had toured Europe in 1938 to get as accurate a picture as possible had come to the same conclusion while many influential politicians advised him that the US should stay out as it had no understanding of European problems.

Maybe American politicians didn’t have the knowledge but the Jews who were driving Roosevelt toward war did have an understanding being present in every European country and in the US and Canada. They were the true Internationalists one might say.  By 1940 nearly the entire Jewish intelligencia of Europe had migrated out of harm’s way to the US where they became very influential.  The Jews were truculence personified.  In early 1941 Theodore N. Kaufman a Jew from Newark published a book titled Germany Must Perish.

He was calling for the extermination of the entire German people. That’s about eighty million souls as compared to six million Jews.  He wanted Germany partitioned out of existence, erased from the map.  His book was reviewed by the Nazis where the question became would the Jews exterminate Germans or Germans exterminate Jews.

It looked like the latter as the war progressed but after the defeat of Germany the boot shifted to the Jewish foot. Under the leadership of the Jewish Secretary of the Treasury Henry Morgenthau Jr. it began to look like with Roosevelt’s consent the Jews would exterminate the Germans.  Then Roosevelt died.  Truman dumped Morgenthau possibly saving the Germans from extinction although it was fairly close.

But back to 1940. Roosevelt was safely in for another four years although already ravaged and ready for death.  Where’s the Grim Reaper when you need him?  He was a shoo-in in ’44 although he died a few weeks into his fourth term.  Had he been strong enough there is little doubt that he would have been a five termer.

The Neutral Party now alarmed at the prospect of war stopped dallying around and formed an actual opposition Party called America First. Hoover had been terrible at propaganda, the Liberty League had never been to propaganda school and the Firsters had learned little from watching propaganda experts like Roosevelt and the Jews.  They were supreme slogan masters.  The name America First unfortunately had a jingoist ring that was definitely negative propaganda.  Nevertheless they had the American people behind them.  Polls, for what they were worth, showed Americans overwhelming against entering the European war.  What were the Jews? 4%?  Ninety-six percent of Americans were against the war.

But so many important events turn on trifles.

The war in Europe was in its third year when the American hero Charles Lindbergh made a speech in Des Moines Iowa in September of 1941. In it he identified the three prime movers for intervention as England, Roosevelt and the Jews.  He then gave evidence for why each wanted war.  This was and is a perfectly reasonable speech, available on the internet if you want to read it.  However Roosevelt denounced him as un-American and the Jews cursed him as an anti-Semite.  Their old ace in the hole.  Lindbergh’s reputation was destroyed overnight.  The America First Committee was discredited with all members running for cover.

The denunciation wasn’t enough to get us into the European war but three months on in December the Japanese bombed Pearl Harbor, Hitler declared war on the US and war was on. Who would believe such an impossible turn of events.  Where were everyone’s brains.   Looking back it was total insanity on all the participants parts.

Entering the war was a mistake for both Roosevelt and the Jews.

Hoover, Lindbergh, Ford and others wisely advised standing clear of the conflict which could never have touched our shores so as to be the ‘peace makers’ after the war. Though wise from their point of view if war hadn’t been entered the struggle to determine the future of America would still have been needed to wage.  The imposition of Jewish mores would most likely have succeeded and become established.

The Roosevelt and Jewish propaganda machine was far superior to the Neutral Party. The America First party had been destroyed by three words in a speech so that opposition to Administration propaganda backed by the moral position of Roosevelt himself would have been invulnerable.

The Jews ardently wanted to put dissidents into concentration camps just as they wanted to exterminate the Germans. Unable to do so they tried jailing them after hostilities began but failed in that.  However in order for Roosevelt to fight the war he had to take the Morganites, the Wall Street Crowd, the ‘Capitalists’ or his enemies into the government.  As the Jews had gone first for the Department of Agriculture the Morganites entrenched themselves in the State Department where their influence was great.  They were thus placed on a par at least with the Communists and Jews neutralizing their influence to some extent.

Nevertheless the Jewish drive for dominance that had reached critical mass in 1940 continued and acclimated. The plan evident at the time was outlined by the  current Jewish novelist Philip Roth in his 2004 The Plot Against America.  Roth, born in 1933, would have been aware enough during the war to get a sense of what was going on.  Interestingly he was from Newark as was the genocidist Kaufman.  Either remembering or researching the period he recreates the claustrophobic Jewish atmosphere of the time.  He makes clear the notion the Jews were the true American democracy while nativists under the leadership of Charles Lindbergh who Roth portrays as a full-fledged Nazi, were authoritarians out to betray America.  Hannah Arendt after the war would develop this absurd notion that others were authoritarians but not Jews.  In his novel Roth has Lindbergh elected president as a satrap of Hitler.

As we have seen a series of books portraying the Morganites and Republicans as criminals from 1865 on were published during the thirties. Myers’ book The Ending Of Hereditary American Fortunes celebrates the expropriatory taxes imposed by Roosevelt,  at the insistence of the Jews.

By 1939 Myers was approached by the filthy rich Guggenheim Foundation to write a propaganda diatribe titled The History Of Bigotry In The United States issued in the critical year of 1943. Myers portrays Anglo-Saxon Americans as deep dyed bigots from the inception of the country to 1943.  He especially denounces the people Jews were trying to incarcerate, either in concentration camps or prisons.

The volume was given a full-fledged sales push by Bennett Cerf at his prestigious Random House imprint. One may be sure that a few tens of thousands paid for by Guggenheims were sent free of charge to every library in America as well as prominent opinion makers.  All sale figures of this time are distorted by the distribution of free copies.  Even Herbert Hoover bought thousands of his books to distribute.  Those distributions are counted as sales.

The History Of Bigotry was only one volume in a flood of propagandistic books, pamphlets, and magazine articles streaming from the printing presses when there was supposedly a shortage of paper.   While aimed at the contemporary markets planners at the obscenely rich Guggenheim, the American Jewish Committee and Anti-Defamation League with an eye to the future planned a whole series of books beyond the war and even to today.  The propaganda has been unceasing.

A good example is the title Undercover also published in 1943 under the name of John Roy Carlson. There was no John Roy Carlson, the name was assumed by the writers at the AJC to publish their defamations.  It purpose like The History Of Bigotry was to defame pre-war dissidents of Rooseveltian subterfuges.  Somewhen about 1938, perhaps at the time the Guggenheim contacted Myers the Jews were in the process or had set up a Mossad type organization to track down and investigate anyone they deemed an ‘anti-Semite.’  They began to or had been keeping files on ‘anti-Semites.’  Today they have a data base of over three million Americans they consider dangerous anti-Semites.  Anti-Semitism, that is their ace in the hole.

When Henry Ford established his Service Department of agents to detect and defend himself against threats from Communists and their allies the Jews defamed him for it. Never mind that the Anti-Defamation League was doing the same for them.  What was reprehensible for Ford was laudable for Jews.

So the AJC and ADL had thrown out a network of, well, spies to gather incriminating evidence against, oh, I don’t know, glances, sneers, laughing at jokes that to them indicated murderous intentions.  One of the agents, Arthur Derounian, to whom they give credit for the authorship of the book Undercover, slithered ‘under disguise’ through Ford’s River Rouge plant searching out the Nazi conspiracies Jews thought were going on there.  Derounian had to report he could find nothing.  I’m sure he overlooked the Communist saboteurs but then Arthur was only following orders like his German double Eichmann.

In fact, through four hundred plus pages the agents came up with absolutely nothing. I don’t know whether they checked under the beds or not though.

At any rate Ford was a beaten man. When informed that the government might expropriate his plant he lethargically said:  Let ‘em.  See if they can run it any better than I can.

So, while Ford was able to face them down in the twenties through the thirties and into the forties they attacked his factories, defamed him unmercifully, sabotaged his production, passed one sided laws essentially making him a slave to the unions and finally attempted to steal his business. Remember the Amalekites.  Truly, it’s not over until the fat lady sings and the fat lady will be Jewish.

With Roosevelt behind them the Jews had taken over the country in all but name.

Their tragic error was in insisting that the US enter the war. As noted this brought the Morganites, the Wall Streeters back into the government.  With Roosevelt’s death they were able to negate the Jewish influence while under Hoover’s insistence their collectivism was mitigated if not exorcised.

The Eightieth Congress in 1946 under Truman repudiated as much of the Roosevelt legislation as possible including revoking 79,000, that’s right, 79K of Roosevelt’s laws, executive orders and directives while mitigating the terrible one sidedness of Wagner’s labor act of 1935.

As for Roosevelt, that very sick old man, whose main goal was the creation of the United Nations, he succeeded. Once again the Jews; who Ford actually defeated in the Sapiro trial, found a way to include the Lubin-Sapiro plan in the Agricultural program of the US and the UN thus reversing the Ford decision.

Willkie had been a mere tool of Roosevelt. After throwing the 1940 election to Roosevelt, the President then used the ex-candidate by sending him on a useless trip around the world in 1943, once again, just before election time.  Returning, Willkie, or his ghost writers, wrote his propaganda piece forwarding the UN theme for Roosevelt.  Willkie’s One World either sold well or so many copies were given away that it appeared so.

Willkie had the audacity to seek the ’44 Republican nomination that was only an absurd hope. Totally repudiated he sickened and died a few months later.

The Jews, turned away and crushed by the news of Hitler’s extermination camps, became fearful believing that the ‘Nazi satrap’ Charles Lindbergh was about to exterminate them became quiet for a decade although they did play their old ace in the hole in ’46 and ’47 when the movie Gentlemen’s Agreement was released.

The arch goi Gregory Peck played a goi pretending to be Jewish to discover the discriminatory horrors Jews were supposedly subjected to.

Their recovery and aggression resumed from there as they renewed the assault on the culture during the last half of the century.

Now their name would be mud

Like an old chump playing stud

If the lost that old ace in the hole.

In memory of the Amalekites.

 

 

 

Henry Ford And The Jews

Remembering The Amalekites

 

zzzzHenryFord3

 

Breitman, Richard and Lichtman, Allan J.: FDR And The Jews, 2013, Belknap Harvard

 

To quote, p. 184:

Theodore N. Kaufman

Theodore N. Kaufman

In early 1941, Theodore N, Kaufman, the Jewish proprietor of a small advertising firm in Newark, New Jersey, self-published a small book that called for sterilizing all German men and women, [NB: this is a plan for the genocide of the German people.] and dividing up Germany among neighboring states. [Thus completely erasing Germany from the face of the earth.] An alert corps of Nazi propagandists saw in Kaufman and his book the perfect foil for myth making. They transformed this obscure self-publisher into the precedent of a bogus “American Peace Federation”, a leader of ‘international Jewry,” and a close associate of Judge Samuel Rosenman, FDR’s speechwriter and confidant. On July 24, 1941 the headline of a front-page story in the central Nazi newspaper, the Volkisch Beobachter, blared: A Monstrous Jewish Extermination Plan: Roosevelt’s Guidelines.” The story claimed that President Roosevelt had inspired Kaufman’s Germany Must Perish, and personally dictated key sections. Two months later the Nazi propaganda ministry published a pamphlet that cited Kaufman’s book as proof of an international Jewish conspiracy to exterminate the German people, abetted by Roosevelt and Winston Churchill. It said that Germany faced a stark choice with an obvious answer: “Who should die, the Germans or the Jews?”

 

This is a very interesting paragraph from B&L’s very interesting book. While trueish on the face of it, it does distort the reality. It is interesting that Kaufman came from Newark as did our time’s own Philip Roth with his book, The Plot Against America. Roth of course repeated Kaufman’s themes in his book. Newark’s Jewish colony seems to have been quite insular incubating strange notions about Jews and Whites.

 

As to the absurdity of Kaufman’s insignificance and his possible collaboration with, if not  Roosevelt’s administration at least,  elements within it, possibly including his Secretary of the Treasury, Henry Morgenthau, it may be more plausible than B&L’s coyly laughing it off.  Kaufman’s ‘Germany Must Perish’ closely resembles Morgenthau’s post-war plans for Germany which may be a total coincidence, of course. Nevertheless there it is.

 

While Kaufman may have been an obscure nutter he appears to have been fronting for some not so obscure people. Contrary to B&L’s assertion that the Germans ‘transformed this obscure self-publisher into the president of a bogus “American Peace Federation”‘, it appears that Kaufman, a criminal, who was arrested along with his father for robbery in 1934, in 1939 did form an American Peace Federation. In the same year he argued in a pamphlet against American interventionism. The pamphlet contained this remarkable passage:

 

A possible plan to Congress…Have us all sterilized….If you plan on sending us to a foreign war, spare us any possibility of ever bringing children into the world- into this country of ours.

 

By 1941 apparently having re-considered ‘our’ being sterilized he transferred his anxiety to the Germans. Nor was his book Germany Must Perish a futile self-publishing effort. Several newspapers reviewed it in their columns as well as the pre-eminent national news magazine the mighty Time of Henry Luce itself. Nor was the review unfavorable. If the Germans picked up on Kaufman’s book it was most likely because of the Time review, which once again, was not unfavorable or condemnatory.

 

Time’s review must have been encouraged from someone from within the administration, possibly Rosenman as the Beobachter suggests, or Henry Morgenthau. It is not impossible then that the Beobachter was correct in suggesting that FDR himself had an interest in the project, or in suggesting that Rosenman was involved. After all Nazi spies were said to be in the administration, not that any have been identified by name.

 

As is absolutely clear, in 1941 Kaufman was demanding the extermination of the German people as well as the effacement of Germany from the Earth.

 

Is the Beobachter’s claim then that there was an ‘international Jewish conspiracy’ to exterminate the German people as ridiculous as B&L suggest?

 

The Beobachter posed the question: “Who should die, the Germans or the Jews?” If that was the choice then in the so-called holocaust the Germans employed the favorite Jewish device of the pre-emptive strike and therefore are guilty merely of getting the first lick in, in a war that was begun in 1933 when the Jews declared war on them and then through Kaufman announcing  a plan to exterminate Germans. Why wouldn’t the Germans kill the Jews first?  Where is the injustice in that?

 

Of course, the Jews lacked a military arm of their own so it was necessary for them to find someone big enough to knock the Nazi bully down for them. In this instance they chose Roosevelt and the US. Now, the Jew Irving Berlin chose at this time to introduce his song God Bless America in which he adjures his Jews to ‘stand beside her [America] and guide her’. What is Irving Berlin talking about? He’s talking about the same thing: Germany Must Perish and the US is going to do the dirty work guided by the Jews.

Noel Ignatiev- Harvard Genocidist

Noel Ignatiev- Harvard Genocidist

 

Now, moving ahead to the present. The Jewish program as proclaimed by the ‘nutter’ Noel Ingnatiev, at the time a full professor at Harvard University, is that ‘Whiteness’ must be eliminated from the earth. So, moving from Germans to all White people the Jews are calling for the genocide of all Whites. Once again, they haven’t the population to do this while to act would destroy their credibility and possibly, although I doubt it, bring destruction of the Hitler kind down on their heads. For the task of destroying ‘Whiteness’ they have enlisted the Negro population of the US as their shock troops. Although the paramilitary actions of Negroes against Whites are suppressed by the media which are owned by the Jews daily paramilitary actions are being carried out somewhere in the US.

 

Thus, from the Wilson administration to the present the Jews have followed a carefully orchestrated program of destruction of Whites as Henry Ford indicated in his articles of the International Dearborn Independent. You can see why the Jews wanted Ford destroyed. If he had gone on from strength to strength rather than being emasculated the course of history might have been very different.  Stand by Henry Ford.

 

EDGAR RICE BURROUGHS VS. THE COMIC BOOK HEROES

by

R.E. Prindle

 

Adventures In The Unconscious

In the attempt to put together a historical puzzle the missing piece or pieces, the clarifying pieces, appear from time to time. Thus with the release of the movie, Captain America this year a significant piece of the puzzle falls into place that clarifies the role of Edgar Rice Burroughs and his literary creations in the panorama of the twentieth century- the fabulous twentieth century.

It is difficult today to conceive of how the early twentieth century was perceived as a complete break with the Victorian nineteenth. One only has to compare the streamlined Santa Fe Chief in this picture alongside a nineteenth century locomotive to see how the Twentieth Century was perceived as the century of absolute exciting progress. The time certainly justified General Electric’s motto: Progress is our most important product.

Twentieth Century Unlimitied. Santa Fe Super Chief Alongside Nineteenth Century Locomotive- San Diego Calif. Back when the future was something to look forward to.

Burroughs role in this fabulous century is essentially the story of how Edgar Rice Burroughs created the concept of the super hero on the cusp of the emergent movie and comic book industries. It is in the latter two industries that the super hero found his definition.

Photographing The Past- Edgar Rice Burroughs

Just as in the days of yore mankind projected its needs in the psychological projection of Gods so the twentieth century saw the beginning of the demise of the old gods and the birth of the new. While the creators of the Old Gods have disappeared into the mists of time, and there must have been human creators of the Gods, the creators of the new gods can be easily traced.

The predecessors of the Superheroes can be found in the rise of the mega intellects of the nineteenth century detectives such as Monsieur LeCoq, Sherlock Holmes and arch fiends such as Dr. Moriarty and the French Fantomas. Influenced by such as these Edgar Rice Burroughs created the actual prototypes of the mid-century superheroes in the characters of John Carter of Mars and Tarzan The Ape Man. While John Carter is less well known than Tarzan, who became a household word within a half dozen years of his creation, Carter truly had super human powers having been transported from the higher gravity of Earth to the lower gravitational field of Mars, or Barsoom, as Burroughs renamed the planet.

While not able to leap over tall buildings his saltational powers functioned at a level of efficiency unattained by any other Barsoomian. For a decade or so Burroughs had the superhero field to himself while his lessons sunk in to the minds of those following him.

The Shadow Knows

The two most significant men of extraordinary if not super human powers to follow Tarzan and John Carter were Maxwell Grant’s superb character, The Shadow and Lester Dent’s Doc Savage. Preceding the comic book character Superman by a few years Doc Savage was actually advertised as a superman, undoubtedly in reference to Nietzsche.

Then in the early thirties in addition to movies, in which Tarzan was a stellar attraction, the modern comic book or magazine came into existence. Of course newspaper comic strips had been developing from the turn of the century but the actual comic book was a development of the thirties.

As fate would have it the comic book industry like the movie industry became a province of the Jews.

Doc Savage- The Man Of Bronze And Crew

Thus two streams of influence formed comic book heroes. On the one hand the Jewish writers and cartoonists were influenced by John Carter, Tarzan, The Shadow, and Doc Savage and on the other by a fifteenth century Jewish super creature known as the Golem. This was a creature fashioned from clay, as per Adam of the Old Testament, by a Prague Rabbi named Loewe who breathed life into his creation as God had breathed life into Adam. The Golem was created to wreak vengeance on Jewish victims as a sort of avenger as would be the status and role of the latter day Jewish superheroes of the comic books.

First out of the box in 1938 was the prototype of the rest of the comic book heroes, Superman. Like Burroughs with his creations the two Jewish creators built Superman’s origins from the Biblical story of the Exodus. Tarzan of course was born to noble English parents in Darkest Africa who then died or were killed by the Great Apes while the she ape, Kala, snatched him from the cradle and raised him as an ape.

Superman was born of noble parents on the planet Krypton which was about to be destroyed, and sent on a rocket ship to Earth while his parents died. On Earth he was raised by kindly goy Earth people. Thus we have two different versions of Moses in the bullrushes. Superman, then, combined John Carter and Tarzan.

Superman was a good thing in commercial terms being the equivalent of a literary best seller. Imitation is the sincerest form of flattery so that while Superman imitated Burroughs’ great characters a host of comic book superheroes soon trod in Superman’s footsteps. Next in 1939 there was Batman, probably the most successful of the Jewish superheroes, and then in 1940 the temporarily successful Captain America, really the product of WWII, losing his popularity with the end of the war. The most successful of all the superheroes was the strange goyish creation, Capt. Marvel but he doesn’t concern us here.

2.

From Out Of The Unconscious Depths

 

The above is very interesting I’m sure but what significance does it have; what is its meaning; what is going on? Well, the back story is very interesting indeed. One must remember that our lives are not lived in a social vacuum of unrelated incidents. All is part of a continuum that does not just happen but is created by the participants. All is a drive to attain a desire. The question is who are the participants? As has already been indicated, the Jews and the Gentiles or goyim. From what do those desires arise? Suggestion. Suggestions having been received, when a body of suggestions have been ingested, our minds begin to digest those suggestions. One then interprets the suggested reality according to one’s temperament which itself has been built on a body of suggestions.

All society is education, indoctrination and conditioning, in other words hypnotic suggestion. Burroughs was born in 1875 as the scientific revolution was in an advanced stage of development; by 1893 when Burroughs was seventeen the whole of human knowledge and scientific advances was put on exhibition at the Chicago Columbian Exposition. The Expo was probably the high water mark in Western Civilization or, at least, its confidence in itself. The Expo was an unparalleled achievement of human endeavor far surpassing all expos of the nineteenth century with the possible exception of the 1851 London Exposition. Interestingly both were burned to the ground by anti-civilization elements. The Columbian Expo of 1893 was the most powerful element of Burroughs’ education.

Shortly before the boy’s birth in 1875 the character of immigration changed. In 1871 Jews from the eastern European Pale of Settlement began to flood the country until in 1914 possibly half of European Jewry had been transferred to the United States. The great immigration myth is that the immigrants were assimilated into the ‘Melting Pot’ of the United States; nothing could be further from the truth. The immigrants merely transferred their national cultures to the United States where because they were compelled to speak English it appeared that they had been assimilated. In reality the immigrants came to the sparsely populated United States where they established an outremer population on the New Island as the Irish had it, a new Sicily, a new Zion etc. They came in such numbers that they actually were colonists. The old cultures were merely adapted to the new realities and developed along side the Native peoples.

These alien or invading cultures then shaped the development of the United States in their image as much as possible. Thus they were able to blame their cultural shortcomings on ‘America’ while emphasizing their virtues as their own. Hence ‘America’ developed into a sort of dirty word, a catchall for the crimes of the immigrant cultures. This state of affairs was masked until the Great War when the social conflicts came into the open and were immediately subsumed into the Communist ideology after 1917.

Young Burroughs observed this immigration phenomenon or suggestion with misgivings associating himself with Nativist views although he remained independent to our knowledge of association with Nativist organizations. Thus while interpretations of these social suggestions are found through out his early writings the conflict didn’t come to a head until after the 1917 Bolshevik Revolution in what became the USSR as Russia disappeared from the map. With all the national dissidents operating under the rubric of Communism the world was divided into us and them- ostensibly Communism and Capitalism. The dichotomy was created by the Communists. However each national culture could function with representatives in each camp while furthering their parochial objectives.

It was a new world the morning after the Bolshevik Revolution. Burroughs immediately came into collision with the new realities. As this new world was us and them it was possible to hate Communism while retaining virtue in the Capitalist camp. However one couldn’t detest national, religious or racial components even though they may have been Communists. As Communists always denied being Communists one was always dealing with cultural groups that dissembled their Communism.

When Burroughs began his career in literature even as he wrote the movies began to assume a transcendent place in US and world culture. By the end of the second decade it was evident that movies were where the big money was. That’s when Burroughs’ troubles began.

He quickly ran afoul of the Communists who controlled publishing and the Jews who controlled the movies. The Communists wished to suppress all non-Communist writers who refused to put out the Communist message. The Jews wished to discourage all criticism of their activities. Burroughs was marked out as one to be destroyed.

Rabbi Silver- A History Of Messianic Speculation In Israel, 1927

Behind the Communist outrage and obscured by it was the Jewish attempt to realize the Messianic age which assault was begun in Europe and the United States in 1913 and was to continue to 1928 according to Rabbi Abba Hillel Silver. While the assault was violent in Europe emanating from the transformation of Russia to the USSR, in the United States it was more peaceable after the violent year of 1919 while being conducted on a propagandistic and social level buttressed by the doctrines of Sigmund Freud as executed by his nephew and disciple Edward L. Bernays and others. You should become acquainted with Edward Bernays if you aren’t already.

Among the first of these propagandistic efforts was the promulgation of a ‘Jewish Bill Of Rights.’ This document along with a questionnaire was sent to the prominent men and women of America to discover their ‘anti-Semitic’ propensities. Burroughs failed this test so that he was black balled in Hollywood after 1922. The blacklist was broken by Joseph Kennedy and his FBO Studios in 1928. MGM then stepped in with a different approach from blacklisting. They bought the movie rights to Tarzan from Burroughs for much less than a song. Burroughs then was essentially neutralized in 1931 while MGM acquired the supreme super hero Tarzan to shape or mishape as they pleased. Within a few years there were not many who remembered that there was a literary Tarzan. My amazement when I learned there were Tarzan books when I was twelve in 1950 was a revelation of the first order.

The movies were able, of course, to shape all the goy literary heroes from Frankenstein to Sherlock Holmes into their own intellectual mold from then into the present while comic books added Jewish superheroes to displace them.

3.

 

Tired Old Man- Easy To Manipulate

The planned Jewish revolution hadn’t succeeded by 1928 but the groundwork had been laid leaving the future promising and open. While in the US the Jews were able to sweep all opposition aside even to the extent of putting their creature, Franklin Delano Roosevelt, into the White House for an unprecedented four terms, in Europe unexpected opposition occurred when Wolf Hitler was elected chancellor of German in 1933. While having their creatures Joseph Stalin as Premier of the USSR and FDR in the USA with Popular Front governments if office throughout Europe with the exception of Germany, Italy and Spain, the Jews seemed to be in a position to realize their millennium.

Indoctrination and conditioning was still important in the US thus when sound movies were introduced at the very end of the twenties and the comic book in the early thirties the Jews had two of the most powerful propaganda tools available under their ownership and control.

Their need in the thirties was to isolate and marginalize the Nativist opposition. This would be achieved in the forties wartime conditions when FDR had the prominent Nativists arrested and charged with sedition. At that point the Jews had succeeded in capturing the government and mind of the country although a long mopping up process would be necessary into the fifties and sixties. Thus while Wolf Hitler rounded up Jews in Europe, Jews were rounding up Nativists Americans in the US while advising any dissidents to keep their heads low.

The movies and comic books would play a big role in indoctrinating Americans to believe that the Nativists were Fascists and/or Nazis and not true Americans. It was at this time that Edward L. Bernays succeeded in changing the definition of Democracy from that of individual opportunity to recognition of groups having rights to a share of government based on group identity rather than individual identity. This would be a key concept as the century developed.

4.

 

After the Bolshevik Revolution the American reaction to Communism was strongly against it. The Communist Party was even outlawed for a time until the Fellow Travelers and Parlor Pinks had the ban lifted. The silent movies of the twenties then were not heavily influenced by the Reds although as indicated the Tarzan movies of Edgar Rice Burroughs were blacklisted. By the thirties the Reds were better organized while with the arrival of sound playwrights capable of producing dialog were needed. The Red exodus to Hollywood began.

The US Communist Party as with all national Communist Parties, was a majority or plurality Jewish affair to the point where an attack on one was an attack on the other. Thus as the thirties advanced the drum roll for US involvement in a war against the Nazis began. This would involve the formation in the US of an opposition led by the America First Committee which was opposed to any involvement in foreign wars as a reaction. As this was opposed to Jewish wishes the America First Committee was designated as Fascist while its putative leader, Charles Lindbergh was designated Hitler’s stooge.

Samuel Dickstein- Congressman From Hell

In order to discredit the opposition, no sooner was FDR sworn in than Samuel Dickstein, a Jewish representative from New York, began to agitate for a House Un-American Activities Committee to stamp out Nativist opposition. As Dickstein was a Soviet agent this meant that the Nativist opposition was un-American while the Jewish Roosevelt government were the true Americans. So, the Jews were well on the way to usurping the American identity which the comic book superheroes represented. Dickstein was successful in establishing his HUAC committee in 1938 but the chair eluded him and went to a real American, Martin Dies of Texas, who then used the committee to harass Communists as well as ‘Fascists’ much to the dismay of Dickstein and FDR.

Hollywood in support of Dickstein began turning out anti-German movies and by implication anti-Nativist well in advance of American involvement in 1942. Involvement in the European conflict was of course brought about by forcing Japan to declare war on the US in late ‘41.

The comic book industry forming about 1932 was becoming real by 1938 when the two Jews from Cleveland devised their Golem character Superman followed by Batman and Captain America. The comic book heroes fell in with the anti-German propaganda. If the Jews, British and FDR were not yet openly promoting the war against Germany the tendency was well formed in that direction.

All those comics were openly anti- German with Capt. America socking Hitler on the cover of the first issue. Capt. America was a creation of two Jews from Brooklyn, Joe Simon and Jack Kirby. To quote the Rabbi Simcha Weinstein from his book Up, Up, And Oy Vey!: How Jewish Culture And Values Shaped The Comic Book Superhero:

Rabbi Simcha Weinstein

Kirby and his partner, Joe Simon, worked at Martin Goodman’s Timely Comics, where the mostly Jewish staff openly despised Hitler. When Goodman saw the preliminary sketches for Captain America, he immediately gave Kirby and Simon their own comic book. The character was an instant hit, selling almost one million copies an issue. “The U.S. hadn’t yet entered the war when Jack and I did Captain America, so maybe he was our way of lashing out at the Nazi menace. Evidently, Captain America symbolized the American people’s sentiments. When we were producing Captain America we were outselling Batman, Superman and all the others.” Simon later commented.

Well, not quite all the others, as Whiz Comics Captain Marvel was the best selling comic of both the war years and later forties. Certainly my favorite. As in the years before the war the America First Committee enjoyed overwhelming popularity amongst ‘Americans’ I would question Simon’s notion that Captain America overwhelmingly represented American opinion. As there were six million Jewish ‘Americans’ in the country I might suggest that the response from that culture of ‘Americans’ was more overwhelming than elsewhere. Jews might easily have accounted for sixty to eighty percent of sales.

It is also probable that no real American would ever have invented a corny jingoistic persona like Captain America, in fact, none did. The image was certainly repulsive to me as a child. My prime comic reading years were from 1947 to 1950 and I and my entire generation rejected Captain America while embracing Captain Marvel. Even then Superman was a distant competitor to Captain Marvel which is why DC comics sued Whiz for copyright violation.

Rabbi Simcha Weinstein- The Story Of Jewish Comic Books.

All the Jewish comics were openly anti-German, thus the FDR administration, the movies and comic books were fighting for the Jewish ‘good war.’ When Charles Lindbergh pointed this out he was immediately portrayed as an agent of the Nazis whereas he was merely telling the truth while being an ideal American. Philip Roth in his 2004 novel, The Plot Against America, recounts the Jewish atmosphere of the time while he postulates that Lindbergh was elected president in 1940 as a satrap of Hitler. Thus the Jews became the real Americans and the real Americans were totalitarians out to destroy the Democracy the Jews had created.

In his essay in the New York Times of 9/19/04 titled: The Story Behind The Plot Against America Roth says that he is recreating America as it really was in 1940 but that is not so. As Roth lived in a New Jersey Jewish colony he and his family was out of touch with the real America as his fictional brother who had gone to Kentucky tries to tell him.

In fact in the America of the time in which Samuel Dickstein was an evil presence the American Jewish Committee and The Anti Defamation League were paramilitary organizations conducting spying operations against the non-Jewish public. Numerous agents unaffiliated with any government agency crisscrossed society looking for any activity that might be considered against Jewish interests. These forays were gathered together in 1943 under the assumed name of John Roy Carlson and published as an indictment against Jewish ‘enemies.’ Many of them were arrested and tried as ‘un-Americans in 1944. So, Roth’s paranoia is at best unbalanced.

Roth says the idea of Lindbergh’s having been elected occured to him while reading Arthur Schlesinger’s autobiography:

     I came upon a sentence in which Schlesinger notes that there were some Republican isolationists who wanted to run Lindbergh for president in 1940. That’s all there was, that one sentence with its reference to Lindbergh and to a fact about him I’d not known. It made me think, “What if they had?” and I wrote the question in the margin.

While this may be how Roth came upon the notion his was not the first such idea. As Paul Buhle and Dave Wagner in their Radical Hollywood of 2002 point out, Donald Ogden Stewart in his script for 1943’s Keeper Of The Flame, Charles Lindbergh is posited as a plotter of a coup to replace FDR in alliance with Hitler. This would have been propaganda to indict Lindbergh for the upcoming trial of the Nativists. I don’t know whether Roth saw the movie as a boy but if he did perhaps the idea festered in his brain for several decades until he was reminded by Schlesinger’s book while his mind was half prepared.

So the actual plot of the Jews to take over the American government was displaced to Lindbergh and the Nativists. The Jewish coup was represented in the comic book character of Captain America. This situation is made clear in the current (2011) movie Capt. America: The First Avenger. Thus Philip Roth and Stan Lee of the comics recapitulate and clarify Jewish activities in the 1933-43 era. Captain America is actually Jewish assuming an ultimate American identity.

The origins of Captain America then emanated from the Jewish dream subconscious of Jack Kirby which was quite different form real Americans. He therefore, as all writers must, made Capt. America in his comic book existence from his own dream fantasies. Thus giving his creation the goy name of Steve Rogers he nevertheless gave him a Brooklyn Jewish origin. As Rabbi Weinstein also a Brooklyn Jew explains, Jews have a sort of dual identity as powerless Jews posing as goys in a powerful goy world. Thus the sickly ineffective Rogers undergoes a scientific experiment that turns him essentially from a 98 lb. weakling into an all powerful goy Charles Atlas without the hard work of body building. I’m sure Kirby saw those ads growing up.

Rogers having now been turned into a Superman had to have a name. Superman being taken Super Jew was out for obvious reasons, or even Super Hebrew, there was no Israel at the time, so Kirby settled on Captain America. Rabbi Weinstein again:

Of course a more literal reading of the costume is that it is the American flag brought to life. Captain America’s star is, after all, five pointed, not six pointed like the Star of David. The flag-as-costume [this is what used to make we boys puke] notion reinforces the ideal of assimilation [Jews ‘becoming’ Americans.] By literally cloaking their character in patriotism, Kirby and Simon became true Americans.

In 1940 there was a desperate struggle going on between the Jews and America First who the Jews styled as American Fascists, I.e. actual Hitlerites. By that line of reasoning the Jews became the true Americans, creators and protectors of genuine American Democracy while Anglo-Americans or Native Americans or America Firsters were out to destroy the great American Dream the Jews had created. This is the theme of Philip Roth’s novel The Plot Against America backdated to this period. The current movie Captain America could easily be subtitled The Plot Against America Foiled.

Rabbi Weinstein again:

Despite the patriotic appearance, Captain America’s costume also denotes deeply rooted [Jewish] tradition. Along with other Jewish-penned superheroes, Captain America was in part an allusion to the golem, the legendary creature said to have been constructed by the sixteenth century mystic Rabbi Judah Loew to defend the Jews of medieval Prague. “The golem was pretty much the precursor of the Superhero in that in every society there is a need for mythological characters, wish fulfillment. And the wish fulfillment in the Jewish case of the hero would be someone who could protect us. This kind of storytelling seems to dominate in Jewish culture,” commented Will Eisner.

According to tradition a golem is sustained by inscribing the Hebrew word emet (truth) upon its forehead. When the first letter is removed, leaving the word met (death) the golem will be destroyed. Emet is spelled with the letters aleph, rem and tav. The first letter, aleph, is also the first letter of the Hebrew alphabet, the equivalent of the letter A. Captain America wears a mask with a white A on his forehead- the very letter needed to empower the golem.

I hope this makes clear that Superman, Batman and Captain America are Jewish in identity and what their purpose is in American society.

5.

 Having created a competing line of Jewish superheroes the problem then became how to discredit and supplant the goy super heroes. As should be clear by now what we have going on is a religious war but fought by propagandistic means. In other words the battle field was literature, comic books and the movies. As in all religious conflicts the goal is to displace the religious icons of the other; thus, in early Christian times churches were built on the sites of pagan temples while sacred groves were cut down. Nothing has changed; nothing can change. The Jewish goal was the elimination of ‘Christian’ or goy symbols.

Capt. Marvel was gotten rid of in 1953 when the Jews sued him out of his cape. As I’ve pointed out in my review of Tarzan And The Lion Man, parts 8,9.10, a key text in this colossal battle, MGM attempted to destroy the character as well as Burroughs when they bought movie rights to Tarzan in 1931. They got his birthright for a mess of pottage. It may be coincidental but in 1942 after the success of the Jewish comic book super heroes MGM discarded their lucrative rights to Tarzan to movie maker Sol Lesser presumably as worthless or, at least, of no more interest to them. Of course Lesser continued the franchise with phenomenal success. This necessitated a continued campaign to debase the character continuing today. At the same time that Tarzan is debased the Jewish characters, Capt. America is now one of a group of four ‘Avengers’, hence the double entendre of ‘The First Avenger’, who are increasingly Judaisized, while presented in a positive way in the attempt to marginalize Tarzan.

Now, some seventy years after the demise of the man, the continued demonization of Wolf Hitler is becoming less relevant, even annoying if you’re not Jewish, so in Capt. America Wolf Hitler is demoted to an incompetent dead threat while the scepter is passed to the mega Nazi/anti-Semite recreated in the mental projection of Red Skull or the Hydra. The mythical symbol of the Hydra is well chosen to represent anti-Semitism as no matter how many heads you cut off another one, two or three grow back. The threat never ends and the paranoia is justified.

Thus in the Freudian sense Jews have a dual personality: on the one hand you have the ineffective completely innocent assumed goy persona of Steve Rogers, who is the equivalent of Abel, the Chosen one and the crazed madman Hydra who is a projection of the negative aspects of the Jewish character imposed on the other as the anti-Semite. Thus the Jewish character is always at war with itself in the Freudian sense and hence never successful in its aims.

Captain Marvel And Billy Batson

A Review

Cherry Vanilla

Lick Me:  How I Became Cherry Vanilla

by

R.E. Prindle

II

Living In The System

     Kathy was born in 1943 so as she left high school the sixties were emerging.  Everybody talks about the sixties but nobody does anything about them.  The sixties didn’t just happen, they erupted, the Exploding Plastic Inevitable as Warhol put it.  Andy was right.  The reason no one can remember the sixties is because so much was going on all anyone could see was their little fragment, that includes the so-called taste makers.  All that crap you get from the sixties politicos glorifying themselves and their exploits is just crap.  They were performing their act in a small little corner or the room pretending it was the whole stage.  They were just a bunch of hard core losers anyway.  Abbie Hoffman! Excuse me! Jerry Rubin, get out of my way.  Allen Ginsburg?  Pardon me while I puke.

No, no.  The sixties were a happening no matter where you were.  I’ve already touched on the drugs in Part One.  Trust me, everyone but we happy few was on drugs whether prescription or street.  I mean, Valium, my god!  Straights ‘needed’ it to get through the day.

As I touched on in my Edie Sedgwick series the sixties were ushered in by the big 707 flying non-stop between NY and Europe beginning in 1959.  That created the Jet Set who were the envy of all.  Airports were small and intimate at the beginning of the decade burgeoning into the behemoths they have become as the airlines reduced prices and seduced people to fly.  Not that I was, I didn’t get into the air until the seventies but as soon as I could I emulated the Jet Set flying to Europe and back three times in my best year.

So there were drugs and the Jet Set and the Kennedies.  The Kennedies were the worst thing that ever

John F. Kennedy

happened to the country.  Of course in pedigree sensitive USA we are all conditioned to ignore national, religious and racial origins as if they don’t count but, let me tell you, they do.  John F. Kennedy began the decade in 1960 replacing the vacated spot of Dwight David Eisenhower.  The change was not nominal.  Eisenhower knew what he was doing, Kennedy didn’t.  Ike, as he was affectionately known,  engineered the victory in Europe in WWII.  He’d done a stellar job from ‘52 to ‘60.  Knowing the devastation of war he resisted the hawks to keep the peace, and we hawks were quite vocal.   Having inherited the Viet Nam situation from the French and FFL collapse he had contention in Indo-China under control which Nixon, had he been elected, was pledged to honor, if he could have executed.

Like I said, we’re not supposed to think, much less talk about, race, religion and nationality but the Kennedies were Irish Catholics who finally won the triumph over the Anglo-Saxon Protestants in America.  The war between the Irish and English was hundreds of years old in 1923 when the Irish freed themselves from the English yoke.  The Irish and Anglo-Saxon war in America had only been going on since the 1840s when the potato famine drove the Celtic lads to our shores at which time, in reaction, the so-called Know Nothing Party was created.  In 1928 the Irish put Al Smith up as the Irish attempt to capture the New Island after De Valera’s 1923 success on the Ould Sod.

Times were not propitious for an Irish Catholic and Al was soundly defeated.  But a gentleman named Joseph P. Kennedy, accruing a bootleg fortune with solid connections to Organized Crime was about to engineer the election of one of his sons to the highest office in the land.  God only knows what goes on behind the scenes but his first choice, Joe Jr., was blown up flying over the channel.  His second son John F. was given one of the most dangerous posts in the Navy, commanding a PT boat.  It’s hard to believe that whoever it was that got Joe Jr. didn’t want  him dead but John survived the war and began the corruption of the land from the highest office in 1960.

Kenney with amphetamines coursing through his veins and a mind centered on sex, which is to say fucking, was clueless along with his brother Bobby and his other nitwit sibling, Teddy.  Within a matter of months he had us involved in a shooting war in Viet Nam, threatened by Khrushchev in the Cuban missile crisis, after he had taken the drug addicts measure at the summit, and then aborting the reconquest of Cuba at the Bay of Pigs.  Is it any wonder the magnificent crew Ike had assembled offed him.  Regardless of how history has been revised their were a great many us who sighed and said:  Good riddance.

When Bobby stuck his head up from under his rock in 1968 there was no doubt he’d get it blown off, and he did.  If you think the two assassinations aren’t connected, think again.  So ’63 and ’68 were big years of a decade of big years.  Teddy kept his head down after that but gained a measure of revenge by sponsoring the 1965 immigration bill.

In far off Africa a gentleman by the name of Barack Obama Sr. was leaving for Hawaii to get a college degree and beget the future President of the United States on a little simple minded White girl.  It was in 1957 when the African colonies renounced their allegiance to their European overlords that Ghana proclaimed independence from Britain.  Thus the complexion of the United Nations was changed overnight as colony after colony of a congeries of warring tribes, now known as countries, declared independence and sent emissaries to the UN.  Thus the balance of power was shifted from the capable to the incapable in that momentous decade.

It should be noticed that Marcus Garvey began the coordination of the African peoples of the world a

Marcus Garvey

few decades before independence was achieved by Africans and not improbably Garvey also furthered the beginnings of the Civil Rights Movement in the US, thus the African independence movement and the Civil Rights Movement were occurring simultaneously and I suspect coordinated.  Thus the African presence in the UN complemented the enormous Black riots that began in LA in ‘65 and reached their apex through ‘67, ‘68 and ‘69.  The fabric of the country was rent and torn.  The future of the country became increasingly ugly.

It’s difficult to say but after the double whammy of the movies The Blackboard Jungle and Rebel Without A Cause of the mid-50s a new tone emerged in which the youthful violence came to the fore and not just lower class kids.  This senseless rebellion without a cause represented a change in outlook occurring in the mid-fifties perhaps aggravated by Elia Kazan’s influential movie.  Gangs of young rich guys terrorized the well to do sections of LA in ways that were inexplicable.   The graduating classes of ‘53, ‘54 and ‘55 belonged to the previous era while 1956, the year I graduated, was the swing year between what was and what would be that began with the class of ‘57.  About half the class of ‘56 looked backward and half, maybe less, faced forward toward the future.  I was in the latter half.

Then in 1958, a twenty year old, class of ‘56 actually inspired by Rebel Without A Cause and James

James Dean- Rebel Without A Cause

Dean, so it was said, by the name of Charlie Starkweather went on a murderous rampage in Nebraska murdering several people simply for the sadistic thrills.  It was bone chilling, perhaps the first of its kind.  Charlie was quickly apprehended and executed in 1959.

Also in the fifties the homosexual, William Inge, wrote and produced the play Bus Stop, turned into a movie starring Marilyn Monroe and Don Murray in 1956.   From those emerged the astonishingly violent TV series of one year only, Bus Stop, the production of which was supervised by Inge.  That TV series transcended by miles any sadism and violence seen as yet in either TV or the movies.  It even made the comic book Tales From The Crypt look tame by comparison.

Perhaps the most sickening episode in a season of sickening episodes was the one starring the teen idol Fabian as a sadistic murderous thrill killer  who was obviously based on Charlie Starkweather.   The episode by Altman was ambiguously titled:  A Lion Walks Among Us.  So the sadist was compared to a lion.  The episode altered the direction of TV drama breaking down the doors for whatever followed and you know what that’s like.  The impact was so strong that a Congressional hearing was called immediately to denounce it.

Already in an excited delirium young people were shown a new direction that was seized.  Serial murderers that were unheard of during the early and mid-fifties became commonplace escalating, so it seemed, year by year.

Thus the scene in New York where Kathy was living her life became more violent by the month until after 1969 and the liberation of the homosexual psyche by the Stonewall Riot, when the crime became ultra sadistic and unbearable.

By the early seventies Dirty Harry and Death Wish symbolized the era moving well beyond Rebel Without A Cause or even Bus Stop as sadistic sick, sick violence.  Insanity, really, and it characterized the country in the coming decades.

At the same time beginning in the early sixties pornography began its rise into the mainstream.  While it was a good sized underground business before, in 1953 Hugh Heffner began publication of Playboy Magazine which brought porn into the mainstream.  Playboy was followed by a host of ‘men’s’ magazines that got raunchier and raunchier.  In the early sixties in San Francisco  I noticed for the first time open advertisements in the Chronicle of porn films.  There was a very active push to further pornography which was participated in by Andy Warhol, Paul Morrissey and the Factory.   In 1968 I Am

Curious: Yellow Poster

Curious: Yellow and Curious Blue were released.  I Am Curious: Yellow was very influential  in loosening sexual mores.  Blue and Yellow were the colors of the Swedish flag.  A Swedish pervert made the movie.  This all led up to 1972’s Deep Throat which for all practical purpose shot porn into the mainstream.   Porn and the so-called Sexual Revolution went hand in hand.

Since sex had been practiced the same ways since the origin of mankind the real sexual revolution was whether you could say ‘fuck’ in public.   The pervert Lenny Bruce led that charge followed by George Carlin and certainly by the mid-seventies few movies were made where the word didn’t constitute 20% or so of the dialogue.

And then, of course there was the Viet Nam war.  This effort was hampered in the US by the Judaeo-Communist allies of the Viet Namese.  Naturally the US Communists said that there was no reason for the US to be involved blithely ignoring the history of the situation.  Actually the war was part of the US-Soviet confrontation in which the US had made several mutual defense pacts with countries on the Communist borders in an effort to contain it.  South Viet Nam which came into existence when the French Foreign Legion forsook their reputation  was part of a mutual defense pack called SEATO- South East Asian Treaty Organization.  When they were attacked by North Viet nam, of which there an be no doubt they were, the clause of the treaty was invoked involving the US in the defense of South Viet Nam.  So, the US was legitimate if foolish in going to the defense of South Viet Nam.

Now, because of the seeming passiveness of the Jews during the so-called holocaust the Jews had acquired a reputation for being a weak ineffective people.  The skullduggery that established the State of Israel in 1948 did nothing for their pride but the seemingly easy triumph of 1956 against the Egyptians through which war Israel purloined the Negev Desert Jewish pride of prowess began to blossom.  You started seeing identifying marks like gold Stars of David necklaces appearing on bosoms of Jewish men with wide open shirt collars unbuttoned to the penis.  Little different than Nazi insignia they were now worn with pride.

The 1967 war against the allied Arab States completed the transformation of Israel into the Neighborhood Bully.  Jews now began to strut down the streets virtually knocking people out of the way with the Stars of David dangling everywhere.  The Jewish Defense League followed in 1968 soon splitting into an even more violent Jewish Defense Organization.  Under their leader Rabbi Kahane a war not too different from the Jabotinsky days in Palestine ensued with the ubiquitous bomb exploding in NYC instead of Jerusalem.

Now, as has recently emerged, the crucial years for Jews in the United States, which had nothing to do with any so-called holocaust, were the years between 1933 and the accession of Wolf Hitler in German and the US entry into WWII in 1942.  Before the war in the ‘30s the Jews called opponents to their machinations, Fascists.  The name included anyone from Henry Ford to Charles Lindbergh.  A marginalization campaign was begun against all American nationalists that largely succeeded.  In that period the Jews created the notion in their minds that they were the true Americans who had created this near-perfect democracy and the Anglo-Saxons who had preceded them were out to destroy the country and turn it into a Nazi satrapy.

Philip Roth commemorated this attitude in his novel back dated to this period, The Plot To Destroy

Philip Roth- The Plotter

America.  Thus through the fifties and sixties  the Jews conspired to dispossess the ‘New Nazis’, that is non-Jewish White Americans.  The war of ‘56 emboldened them so that by 1964 they were encouraged to seize the university system of the US.  The first front opened  was the so-called Free Speech Movement on the UC Berkeley campus whose real purpose was to displace Free Speech with Jewish controlled speech.

This was successful and when the dust had settled the Jews were in control of the campus stifling the free speech that had been the ostensible reason for the battle.  As Mark Rudd would later say:  The issue is not the issue.  Jewish commissars set up tables at the Sather Gate to which students were demanded to submit to Jewish governance or else.

From Berkeley the battles strung out to other campuses, the most notable being Columbia in NYC while the other Ivy League campuses fell in line.  Freedom of speech was the last thing on their mind.

Having achieved their goal at Berkeley the next step was to escalate the resistance to the Viet Nam war hence shielding their Communist allies in Hanoi.  This was furthered significantly by the 1968 world wide offensive led by Chairman Mao and his Cultural Revolution so that by the time of Nixon’s reelection in 1972 the country was in a State of near revolution although it wasn’t that apparent on the street.  I was amazed just before the election to see truckloads of soldiers brought into Eugene where I was living  and a revolutionary hotbed, to be secreted in the hills in the event of an insurrection.

I have no idea if John Lennon and Yoko Ono knew how close they were to the edge but in retrospect they were not only lucky to be allowed to stay in the country let alone avoid imprisonment.  If they hadn’t been so high profile I’m sure they would have been arrested.  They were committing some pretty provocative acts.  I’m sure that the money they gave to the movement through A.J. Weberman found its way into bombs.

Back in 1964 when Lyndon Johnson had inherited the White House after John F. Kennedy had escalated the war so that there was no way out but to go forward, Johnson was presented with the choice of guns or butter.  Would there be a period of austerity as in WWII  when the choice had been guns or butter.  Between those two choices Lyndon chose a third- guns and butter.  Things would go on as close to normal as possible.  It was weird.  His administration occupied the center years of the decade while the Judaeo-Communists would give him no peace.  I mean, you know, the hundreds of bombings went on with no qualms on the part of the domestic terrorists.

And lastly, while all previous generation had been known by their literature the current generation, my generation, was known by its song writers and music.  Everyone picked up a guitar and wrote songs.  This essentially came in two, maybe, three waves.  The first was spearheaded by Elvis Presley, the second by the British Invasion from 1964 to 1966 and the possible third from 1966 to 1974 after which the generation exhausted itself.  It was along about 1966 that Kathy made the fateful decision to become a groupie and this would define her life until her mental breakdown in the late seventies.

When the Beatles and the Stones hit these shores they were just singers and bandsmen, popular, but nothing more.  The notion of the Group began to be deified in San Francisco after Ken Kesey’s Acid Test.  The group members were suddenly invested with nearly superhuman powers and wisdom.  All you had to do to become a Holy Guru was stand up on stage, hit a couple of chords,  and shout out ‘Mercy, mercy me, the ecology.’ with a raised fist.  The Grateful Dead, Jefferson Airplane, Big Brother And The Holding Company, people of questionable character all became secular saints.  One grows faint thinking it but, yea verily, gods.  And this only from playing the guitar badly and voicing universal popular sentiments.  Don’t trust anyone over thirty said a twenty-nine year old and immediately thirty-somethings were posing as teenagers.  Too late now, isn’t it?

If you break down the ages, the first wave was born sometime in the early to mid-thirties, Presley was born in ‘35, Little Richard in ‘32.

The first wave of Rockers was spent by the late fifties succeeded by an interim group of nondescripts like Bobby Vee and Bobby Vinton.  Nice enough but not essential or memorable.  The Beach Boys were the top American group from 1960-64.  Then came the second wave, these were men born from 1938 to 1945- Lennon ‘40, Dylan ‘41, Jagger ‘43 and this was the core age through the sixties.  So the second wave, the true Rock phenomenon was a product of people born from 1938 to 1945.  In the seventies Bowie ‘47, Billy Joel ‘49, those of the fifties came to fore as the generational impetus sputtered out.  The Bowies and Joels were of a different sensibility than the main second wave.  They grew up under different circumstances.

As the second wave gathered strength not as mere entertainers but as potent pop culture figures, adoring young girls emerged as groupies.  Their sexual excesses were scandals although the concept of groupie was nothing new.  Anywhere there are glamorous or powerful men accessible women will appear as well as, one might add, homosexuals.  There are literary groupies and business groupies, etc.  However Rock groupies tended toward being under aged jail bait not infrequently barely out of puberty and unconcerned for any consequences, indeed, not knowing of any.

So when Kathy discovered groupies  she determined to become one although incongruously as old as the musicians themselves as she had been born in ‘43.  It was kind of like somebody’s mother turning groupie.  As she said of her groupie career she wanted a band to offer her a job.  Finally David Bowie did.

This was the world in which Kathy Dorrotie was making her way.

A Review

Lipstick Traces:

Greil Marcus

Part IX

Into The Abyss

It sounded like a lot of fun wrecking the world.

It felt like freedom.

Greil Marcus: Lipstick Traces

 

     It is probably time to look a little into Mr. Marcus’ antecedents.  He was born in the summer of 1945 between VE and VJ day as he tells us.  He was ten, then, in 1954-55 when Rock and Roll came into existence.  He doesn’t seem to imply that he was particularly interested in records in the next decade that would have made him twenty in 1964-65.  He would have been 15 to 20  from 1960-65 during which time he would have listened to the radio.  He also seems to have been in Philadelphia at some time during that period when he attended a Bob Dylan concert. I haven’t read yet where he mentioned that he had a record collection during that period.  He doesn’t seem to recall much from memory before 1965 with the possible exception of Bob Dylan.

     One is forced to conclude then that most if not all his record lore was acquired between his twentieth and thirtieth years from 1965 to 1974-75.  He began his career as a critic in 1966 when he went to work for Rolling Stone.  He left that post a year later to write for Creem Magazine. His first book Mystery Train was published in 1975 so he should have acquired his lore over maybe eight years.

     He should have been a sophomore in ’64 which means he should have graduated in’66 so his real record education would have been from ’66 to ’74.  Not much time  for someone posing as an expert in ’75. 

     He says he was born in San Francisco moving into Menlo Park in 1955 so that he went to Menlo Park-Atherton High.  The area is one of the ritziest in the Bay Area.  Atherton is top of the line for the Bay so his step-father must have been doing pretty well.  In other words Mr. Marcus is a rich kid.  I haven’t read exactly where he lived between 1948 when his mother remarried and 1955.

     At any rate he comes from a very well to do background.  After graduating from MPA he went over to Berkeley to attend UC.  He was there for the whole Free Speech brouhaha.  At some time after graduation from UC he returned to Berkeley to live which is his home base at the present time.

     At the time he wrote Mystery Train I would question the depth and breadth of his knowledge.

     He published Mystery Train at the last possible moment such a book could be published.  From ’66 to ’75 those of us concerned with records were convinced that something monumental and earth shaking was happening.  Wonderful theories of the music’s importance were spun of which Mystery Train is one.  I think it probable that Mr. Marcus saw a string of such books rolling off his pen.  A funny thing happened on the way to the forum however.  Disco and Punk blew up the Rock monolith about the same year destroying the grandiose notions we were all believing in.  All of a sudden as Mr. Marcus points out confidence was destroyed and survival became the issue.  Mr. Marcus and his plans were thrown for a loop.

     Not until 1989 did he find another tack to try to get back on track.  In that year he published Lipstick Traces.  Feeling that his first career had been blown out of the water by Punk he paid homage to it by concentrating on Johnny Rotten and the Sex Pistols.  Broadening out some he incorporated the history of what he considered various Dada movements.  His concern with Dada had found expression in Mystery Train so it was only necessary to relate Dada to Punk with which he had no trouble.

     Since ’89 he has published a continuous series of books, the most recent being The Shape Of Things To Come.

2.

     I hesitate to do this but I feel the reader should know something of my credentials to give some basis for judging my criticism and analysis.

     I’m about seven years older than Mr. Marcus having been born in 1938.  I was therefore sixteen in 1954 which is more or less the cut off date for the beginning of Rock and Roll.

     I grew up in Saginaw, Michigan.  We were apparently out of the mainstream of Rock development.  Even though we had a fairly large Black population there was no Rhythm And Blues or Black music on the local radio.  There were only traditional music shows on radio in 1954 when Top Forty was in embryo.  By ’55 and ’56 we had full fledged Top 40 and what a blast it was.

     With Top 40 came Black artists like Bill Doggett, Fats Domino and Little Richard but they were a Top 40 sound whether they called it Rhythm And Blues or not.  One could tune into Detroit for Black records but I didn’t know anyone who did.  I tuned in a couple times but Black music per se repelled me.

     I was in the class of ’56.  The class of ’55 knew nothing of Rock and Roll at the time and very little of Top 40 radio.  I was in a distinct minority in the class of ’56 who listened to Rock at all.  The class of ’57 was the first class attuned to the music.

     As to first R & R records, who knows?  The early and mid-fifties were a blend of musics so I heard a fair amount of Swing.  Anyone who traces Rock and Roll directly to Swing is dreaming.  I know Buddy Rich, Gene Krupa and the Swing drummers.  None of them had the R&R feel.  Swing rhythm sections were miniscule compared to Rock which to my mind is a singer, lead guitar and a two or three piece rhythm section.  Very faint resemblance to Swing.

     When it became financially impossible for Big Band to survive I suppose the instrumental quartet was the next logical step which led to the Big Beat.  Neither Elvis nor Sun had a Big Beat.  He had rhythm but no beat;  he was essentially a hillbilly singer doing fast songs which is how everyone thought of him.  That’s what I heard and none of the people I knew would listen to him because he was a hillbilly.  As far as I’m concerned the Big Beat was developed by Lonnie Donegan and that is where the English Beat groups come from.  Lonnie’s early stuff was as much Rock as anything else although he was primarily a terrific Folk and Blues singers.  Unparalleled.  He was as good as Elvis but somewhat more traditional sounding than Presley.  Elvis could really move you.

     Elvis was virtually unknown in Saginaw before Heartbreak Hotel.  I missed out on the Sun records by a day.  The record store had returned them the day before I got there so I have all RCAs.  I never knew anyone else who had heard of Elvis between the time I bought my 45s and Heartbreak Hotel.

     I never thought of Elvis as a Rock and Roller on those early records.  There really was no Rock and Roll except for Bill Haley And The Comets and that stuff was really leadfooted.  I didn’t really enjoy Rock Around The Clock and I never bought it. Elvis was just a hillbilly cat who could really sing a song.  I knew from reading the labels that Arthur Crudup wrote That’s All Right Mama but that meant nothing to me.  Who ever heard of Arthur Crudup? 

     I don’t understand why I don’t have Sun Presleys as I bought every Sun record as it came out.  I had to have them special ordered as nobody wanted them but I was very familiar with the Sun sound.  Not impossibly Sam Phillips had as much to do with Rock and Roll as anyone because all the records he produced had that forward leaning scudding way.  You could have substituted Elvis for Johnny Cash on Get Rhythm and there wouldn’t have been much difference.

     When Elvis left Sun his production values changed with the sound becoming flat footed and vertical rather than forward leaning.  Elvis was always Elvis for me but I never had the incentive to buy his RCA produced 45s.

     Some may say the music died with Buddy Holly’s plane crash but that is a gross exaggeration.  Holly’s career was virtually over by February ’59.  He was singing solo and fading fast.  The Big Bopper was a no one who had one trash talking record while Richie Valens was as close to a zero as you can get.

     Elvis was kept alive by RCA during his Army years but Little Richard was finished after Heebie Jeebies and Jerry Lee’s Rock career was stalled.  High School Confidential was so-so.  Jerry Lee’s marriage to his cousin may have put him in bad odor in some quarters but that was a fishing expedition to discredit him.  Might have hurt his personal appearances but not his record sales, they were already down.  To my mind Duane Eddy came out with Rebel Rouser on the heel of the plane crash and Rock and Roll bounced right along without missing a beat.  Apparently not too many people remember the effect of Eddy and Rebel Rouser but it was the second kick in the pants after Presley.  Kept us all going.

     The big problem for Rock and Roll was Organized Crime.  The Mafia and Chicago Outfit controlled Juke boxes.  Those idiots determined that only their acts got on the Juke boxes.  If you want a good representation of what the record industry was like check out the best Rock and Roll movie ever made- The Girl Can’t Help It.  If you watch closely and pay attention you are being told exactly how it was.

     An Outfit figure greatly resembling Al Capone, although the time period was long after Capone, controls the Juke boxes for the Outfit.  That means the Juke boxes at least West of the Appalachians to the Coast.  The Juke boxes in Saginaw were stocked by the Outfit that for all practical purposes controlled the town.  All towns.

     Girl Can’t Help It stars Jayne Mansfield and Tommy Ewell.  Mansfield is the Mafia figure’s moll.  He wants to make her a record star which he figures he can do because he controls the Juke boxes.  All of ’em.  But the Girl Can’t Sing.  The producers are at their wits ends because they have to do something with her.  They accidentally discover that she has this high pitched squeal.  So, a la Tequila in which periodically the instrumental music stops and someone announces ‘Tequila’, at certain points in the record the music stops and Mansfield squeals.  This is so captivating the record does become a hit.

     Now, the movie highlights several Mafia acts like Teddy Randazzo and the Gum Drops that would never draw anyone into the theatres.  Teddy didn’t even have an attractive high pitched squeal to go along with his great accordion playing.  But as is usual with non-record types the belief is that if you can expose non-talent acts to enough people they will sell.  So the Outfit did understand they needed some draws to get people in to expose the non-talent.  Who are you going to go to?  Well, Gene Vincent, Eddie Cochran, Little Richard for starters.  I went because of Gene Vincent.

     The movie was released in ’58 so not many of us had ever actually seen any of these guys.  The Mob had their draws but they wanted to showcase the Italian acts which they did.  Gene Vincent was shot through the window of a recording studio for about half of Be Bop A Lula; Eddie Cochran did his Twenty Flight Rock shot off a TV set and Little Richard was shot through a crowd in a club about fifty feet away.

     As I say if you pay attention you can get a very good idea of what was going on.  Mansfield and Ewell were great but they were at the terminal point of their careers.

     The early sixties were pretty duddy as far as I was concerned, but that doesn’t necessarily mean I was right,  so I went back to my true love, Country and Western.  As I noted in Part One I was drawn back into pop by my brother-in -law.  As I said I then graduated from college in ’66 going up to Oregon from the Bay Area.  It was there in ’67 that I opened a record store.  From ’67 to ’80 I was a decent sized player in the record business.  I thought I heard everything but I am always amazed at the records for which I have no recollection even seeing. 

     I was there when the first Rolling Stone came out.  I don’t know where the magazine sold but it wasn’t Oregon.  Pretty boring actually.  Got worse as time went on and then it got Political. 

     I quit listening to records in 1980 when I closed my record store.  Punk was too ridiculous to waste your time on although I do have two or three Disco records I value.  Well, Rock and Roll was great while it lasted but it really did die in ’75.  Not only Punk and Disco but the untalented Epigone came along.  The splitting out of Heavy Metal as a genre didn’t help either.  God!  I know how Marcus felt.  Everything just crashed to the ground.

3.

     Mr. Marcus’ themes and direction remain the same from Mystery Train to The Shape Of Things To Come.  His attitudes are controlled by his dual Israeli and American passports: his Semitism and anti-Semitism.  These two citizenships coincide in his psyche with his twin racial concerns.  The Israeli citizenship as Semitism and his American citizenship with anti-Semitism. Naturally his Israeli Semitism takes precedence in his loyalty over his American anti-Semitism.  Americans are Nazis in his mind.  As with Adam in the Garden of Paradise and God, the twin concepts exist side by side in his mind with Adam representing Semitism and God anti-Semitism.  Thus his Jewish/Adamic/Israeli identity represents his absolute purity in his mind while America/God represent his foul or Devil side.  He and his fellow Jews think that by trashing the Garden, Europe, Palestine, America or wherever they happen to reside that their ‘purity’ will triumph and they will be as they represent themselves: a Holy People suited to govern mankind, Judge-Penitents.  That is what the eighteenth century messiah, Jacob Frank, meant by saying that if the Jews commited all the evil in their minds then this ‘purity’ will shine to light the way for the peoples.  You don’t have to be Freud to know it ain’t going to work.  Thus Mr. Marcus’ subliminal message is all good comes from Jewish musicians and all evil from American musicians.  The Jewish Bob Dylan becomes his ultimate hero taking precedence over the American anti-hero, Elvis Presley.

     That’s why in Lipstick Traces he juxtaposes the anti-hero Presley and the Jewish hero Isidore Isou.

     Mr. Marcus scatters several clues throughout his work to hint at what he’s attempting.  He mentions John Ford’s movie The Man Who Shot Liberty Valence and one of its morals a couple times concentrating on the movie’s stated notion that once an event becomes legendary even though the received version may be untrue people prefer the myth to the fact.  There may be some truth to the notion although as Mr. Marcus explores the counter notion of detournement he gives us the means to strip such an ingrained notion from the story and turn it in any direction we want.  Thus in the twenties the Judaeo-Communists on the one hand debunked American heroes and myths while at the same time detourning them so that Jefferson and Lincoln become founding members of Communism as Communism in turn becomes Twentieth Century Americanism.  A neat trick that didn’t quite work.

     Actually the two practices denote the transition from one religion to another which also lays bare Mr. Marcus’ intent.  Thus in the first few centuries of the Piscean Age the Catholic Church detourned ancient Taurian and Arien religious sites by stripping them of their pagan connotations replacing the meaning with little balloons containing Christian messages.  Eventually they replaced Arien temples with Piscean churches.

      Jack Finney’s 1950’s novel The Invasion Of The Body Snatchers describes the same thing in which aliens while maintaining exact replicas of the bodies they take over inform the minds with entirely different content.  Finney understood detournement completely long before Guy Debord had it figured out.

     That is exactly what the Jews, who are attempting to replace Christianity are doing.  Mr. Marcus mentions Philip Roth’s The Plot To Destroy America approvingly.  Of course Mr. Marcus and Roth are both Jewish.  In Roth’s detournement of American history he portrays the Jewish rescue of the true America, which the Jews in their wisdom created, from the Weird Old Americans who are trying to twist the Promised Land into some Nazi hate filled paranoid perversion of what one is led to believe was the American paradise Jews had created.

      Roth chooses to recklessly defame Charles Lindhberg, a great and true American, but that is what detournement is all about.  Thus on the one hand Roth detournes ‘Weird Old American’ heroes into villains while at the same time creating the myth of the Jewish saviors a la Liberty Valence.

     The Jews then become the men who shot Liberty Valence thus destroying the Weird Old America while bringing into existence this Jewish paradise we enjoy today.  Shut your mouth, you anti-Semite.

     Why Liberty Valence?

     Well, Liberty is the opposite of collectivity or the Jewish Law.  He represents the sort of ‘rugged individualism’ that threatened Jewish collectivity or subordination to the Mosaic Law.  Valence means valour, courage or valiance.  That is, a man who has what it takes to stand out against the crowd or Mosaic Law.  I’m sure it was an unintended compliment.  No one of the collectivity has what it takes to stand up against him, not even the hero of the collectivity, John Wayne.

     The legend that is so hard to kill is that Jimmie Stewart shot Liberty Valance down in a fair and square man to man fight.  Actually Wayne is the agent of the collectivity who bushwhacked Liberty from a dark alley,  Wayne and his Negro servitor and alter ego who tossed his rifle to him.

     So this is the secret message of Lipstick Traces creating a legend and detourning existing beliefs that run counter to those of the collectivity.  For that reason the branch of academic history known as American Studies has been captured by Jews who stand up laughingly epatering the Americans, debunking and detourning as they go.  

     I see where Mr. Marcus and a yoyo by the name of Todd Gitlin are joining forces to epater the Americans together.  Ought to be funny if you’ve got the right sense of humor.

4.

     All the seeds of Mr. Marcus later work are apparent in his 1975 Mystery Train.  One should examine Mr. Marcus construction of Train carefully.

     He examines six recording stars.  Two of which he calls ancestors and four ‘Inheritors.’  The six are Harmonica Frank, Robert Johnson, Dylan/The Band, Sly Stone, Randy Newman and Elvis Presley.

     Out of the period of 1950-75 Mr. Marcus chooses a very personal list of bands.  One would call the list debateable but there’s not much to debate.  Whether they are supposed to be important or influential isn’t clear.  Apart from Presley none of them were overwhelming important  or influential.  Pink Floyd, Grateful Dead, the Doors?  No, they aren’t on board Mr. Marcus’ Mystery Train.  So, what do we have? 

     The list is bracketed by two White performers, Harmonica Frank and Elvis Presley.  Robert Johnson and Sly Stone are Black.  Dylan/The Band are Jewish and Canadian while Robbie Robertson is mentioned as having a Jewish father.  Thus Dylan/The Band and Randy Newman are two Jewish outfits.  Two Whites, two Blacks, two Jews.  Obviously we have an agenda here.

     The two ancestors are questionable.  I may have a vague memory of having heard the name Harmonica Frank but the man influenced absolutely no one.  Technically he is no ancestor.  His only connection with, say, Elvis, is that both were produced by Sam Phillips at Sun records.  In that sense Harmonica Frank may be representative of what Phillips as a producer was trying to do but that represents Phillips and not Harmonica Frank.

     Thus when Phillips decided to produce Presley he used the same musical tenets or ‘ear.’ Elvis was very fortunate to have Phillips to hear his talent and draw him out.  Without Phillips there would never have been an Elvis Presley other than this guy driving a truck.

     As far as ‘White’ ancestors go Phillips would have been more appropriate than Frank.  I suppose what I am saying is that I find Mr. Marcus either too shallow or too tendentious.

     Mr. Marcus doesn’t use a Jewish ancestor but as a Black ancestor he chooses Robert Johnson.  As he states there were no Robert Johnson recordings available for anyone to hear before the 1960 Columbia release.  Huddie ‘Leadbelly’ Ledbettor would have been a much more influential ancestor.  Not only had his recordings been continuously available but his songs formed a staple for Folk artists from the post-war years on.  His Good Night Irene and Midnight Special were ten times more influential than anything Robert Johnson ever wrote, a hundred times…heck, a thousand times, more.  Johnson’s songs began to appear by other artists only in late sixties.

     Mr. Marcus’ enthusiasm for Johnson’s lyrics is absolutely inexplicable.  He quotes the following as an example of Johnson’s genius:

 

Me and the devil, was walking side by side

Oooo, me and the devil was walking side by side.

I’m going to beat my woman until I get satisfied.

 

     Pretty choice stuff, huh?  I’m surprised the ladies haven’t boycotted both Johnson and Mr. Marcus’ Mystery Train.

     Nevertheless his choice of Johnson seems arbitrary at the best and tendentious at the worst.

     I presume he chose the Band because of their association with Bob Dylan.  Mr. Marcus definitely sets Dylan up as the greatest of the era replacing Presley.  This is patently ridiculous.

     His final paragraph detournes Elvis in favor of Dylan.  Bear in mind that in 1975 Elvis still had two years to live so Mr. Marcus may be understood to be addressing Presley indirectly:

     Quote:

     All in all there is one remaining moment I want to see;  One epiphany that would somehow bring his (Elvis’) story home.  Elvis would take the stage as he always has; the roar of the audience would surround him, as it always will.  After a time, he would begin a song by Bob Dylan, singing slowly.  Elvis would give it everything he has.  “I must have been mad,” he would cry,  “I didn’t know what I had- until I threw it all away.”

     And then with love in his heart, he would laugh.

     Unquote.

     That’s a pretty tale.  As a detournement the kingof rock n’ roll passes the scepter to Dylan.  While as a hypnotic suggestion to the living Elvis Mr. Marcus is attempting to bring his dream to come to pass.  We’ll never know if it would have worked but it was the traditional Judaeo-Freudian method.

     Thus the two sections on Harmonica Frank and Elvis are slurs on Mr. Marcus’ concept of The Weird Old America.  That title of another of his books is itself a detournement of America.

     For the last few years I have been wavering but after reading Mr. Marcus’ ideas on Dylan I have probably irrevocably turned against him.  To write of the Band is to write of Dylan.  Dylan would always have been Dylan but the Band would never have been anything without Dylan.  The Band probably stands to Dylan as Presley does to Sam Phillips.

     The first two Band LPs are the result of direct contact with Dylan in the sessions that resulted in the basement tapes.  With the separation from Dylan the effect wore off with the Band returning to their R & R roots.  At their peak they were no Doors or Led Zeppelin.  Like Dylan I find them unlistenable today.

     Mr. Marcus wrote a two or three hundred page essay on Dylan’s Like A Rolling Stone which he seems to consider the greatest song ever written.  He perversely refuses to accept the song for what it is- a hymn to ingratitude.  In the song Dylan clearly resents his dependence on Joan Baez for his early success.  He, in fact, used her but now in his pride of success he spurns her from him- with his foot so to speak.  A real ingrate as a matter of fact.

     Mr. Marcus reproduces the lyrics in their entirety as a preface to the book.  I’m not going to do the same here but Like A Rolling Stone is in a genre of Dylan songs that can be defined only as mocking or ‘hate songs.’  Along with Rolling Stone one can include Positively Fourth Street, Please, Crawl Out Your Window, Ballad Of A Thin Man, Desolation Row and any number of others.  Sooner Or Later, One Of Us Must Know.

     Again with Dylan the tone of his voice is more important than the words.  For me I responded to the pain and anger in his voice that seemed to reflect my own experiences and which I interpreted in my own way.  The same attitude would be reflected differently by the baby boomers born in the early fifties.  As noted they came along at the time of Mystery Train’s writing to shatter Mr. Marcus immediate dream of a Rock And Roll Czardom.

     One presumes that the song Mr. Marcus wanted Presley to sing in order to detourne himself in favor of Bob Dylan ‘with love in his heart and a laugh’ thus allowing one religious idol to replace another was ‘Like A Rolling Stone.’

     Unfortunately due to Mr. Marcus’ interpretation I now see ‘Like A Rolling Stone’ as an actual hymn of hate scorning and mocking Joan Baez.  Throughout Bob Dylan’s career he had the habit of purloining things of others…said the Joker to the Thief.  In Minneapolis and Colorado he actually stole records from other people.  His excuse was that he really needed them.  In New york he lifted the arrangement of a song of Dave Von Ronk’s and recorded it without permission.  He had a ‘good excuse’ for that too.  He needed it.

     Perhaps his greatest theft was of the career of Joan Baez.  Baez out of a generous heart used her influence and reputation to gain acceptance for the caterwauling Dylan.  He couldn’t admit this theft without exposing himself as an ingrate subject to the scorn of the Folk community of Greenwich Village.  This may possibly be the secret meaning of Positively Fourth Street in which he seems to heap scorn on the whole Folk community.

      Mr. Marcus is especially impressed with the disgustingly hateful lines:

Ain’t it hard

When you discover that

He really wasn’t

Where It’s at

After he took from you everything

He could steal?

 

How does it feel?

How does it feel to be on your own

No direction home

Like a complete unknown

Like a rolling stone.

     Dylan has identified the person he is speaking to as ‘Miss Lowly’ who went to a fine school and here he says that he has stolen everything from her that he can steal and then he taunts her as though he had reduced her to his condition when he first arrived in New York City.  ‘How does it feel to be on your own with no direction home like a complete unknown?’

     Yes.  It must have been terrifying for Dylan to arrive in New York City as a complete unknown with no understanding of how to get started, homeless and starving.  Dylan solved his problem by scrounging lodging and his next meal.  He just moved in on people, ate their food, read their books, listened to their records, picked their minds, stole from them everything he could steal and then turned his back on them.  Cut them cold.  Scorned them as in Positively Fourth St.  Well, all right. OK.  But I don’t find it as admirable as Mr. Marcus does.  As I say I never really thought of Like A Rolling Stone deeply before reading Bob Dylan At The Crossroads.  (Robert Johnson again.  Is Mr. Marcus suggesting that Dylan sold his soul to the Devil?) but now that I have I am appalled at the coarseness of actually composing a song about your perfidy and advertising it to the world.

     If Mr. Marcus had handed Presley the song saying this is going to be what you’ll sing next, Presley who had perfect musical sense would have said:  ‘Not on your life, Baby Blue.’

     No laugh and a shrug from the King.

     After Dylan/The Band Mr. Marcus moves on to Sly Stone.  Sly was not a major talent.  He had a couple fair R&B songs bordering on open racism.  Sinking rapidly beneath drugs Sly Stone rapidly sunk his career.

     Moving next to Randy Newman I must confess that Mr. Marcus has lost me.  Perhaps he is trying to help the career of a fellow Semite along.  Got me.  Newman’s songs were always repulsive to me and Mr. Marcus’ quotes merely make them more repellent.  Gee, I wonder why Elvis never sang ‘Short People?’

     And then of course we come to what Mr. Marcus intends as his piece de resistance of criticism, Elvis himself.  This piece is a regular tear down job.

     Mr. Marcus was a trifle too young during the late forties and first half of the fifties to understand the situation.  During those years the musical culture was in the hands of Jews and Italians.  New York’s Tin Pan Alley from the twenties on had controlled American popular music.  The clubs in which artists performed were all mobbed up as all the artists were mobbed up will they nil they.  Thus nobody got through who wasn’t thoroughly vetted.

     On the fringes one had areas of Black musicians who were outside the scope of popular music hence not worried about.  At the same time one had Hillbilly music that was so despised that proper Whites retched at the mere mention of it and that is no exaggeration.  Concomitant with Hillbilly although culturally acceptable was Folk music.  Postwar from 1946 to 1964 in my estimation Folk was the only listenable pop musical expression.  Unfortunately Folk music was in the hands of the Reds making it culturally suspect.

     During the twenties and thirties Tin Pan Alley songs were vital enough to satisfy the nation’s listening ear although there were those who complained about it.  Whatever had worked for Tin Pan Alley between the wars the ethic had worn too thin between ’46 and ’54.  The music was so godawful and stiff that few could listen to it especially the young.  Into the Jewish vacuum stepped the Black and Hillbilly songwriters and performers.  While Hank Williams may have slipped slightly over the line of pop his songs were welcomed with open arms by pop cover artists.  At that time there was no shame in covering a song made popular by another artist, even as the original version was still moving up the charts.

     A golden time was created for unvetted performers and songwriters to step into the vacuum.  While Eddie Fisher, Ezio Pinza and Mario Lanza  and a stable of Italian pop singers attempted to hold the Tin Pan Alley fort Black street singers were emerging as Doo Wop groups while in Memphis Sam Phillips was developing the distinctive Sun Sound of which Elvis was the cornerstone.  Elvis and his songs were completely unvetted by Tin Pan Alley and the Mob.  As far as I’m concerned Presley’s breakthrough was such a fortunate concatenation of circumstances as to be miraculous.  There are few times when things work out so perfectly for all concerned from Sam Phillips to Elvis to Colonel Parker and RCA.  While Elvis was the transcendant talent he was only a component in the Elvis Presley success story.  He had the good sense to stick to singing while he had the good fortune to be associated with managers of talent, circumspection, genius and above average integrity.  So rare as to be almost unbelievable.

      Phillips brought the talent to the surface that anyone else would have overlooked.  A shy retiring Elvis given the opportunity dug deep to release the inner singer to become a polished singer almost immediately- in fact immediately.  All of his Sun singles are absolutely stunning.  There was no reason not to be swept off your feet from the first note of That’s All Right Mama.

     Elvis’ genius was that he handled songs in a perfect blend of hillbilly and pop.  He may have used some songs written by Blacks but there was no Black singer that could possibly have made of those songs what Elvis did.

     Greil Marcus, Guralnick and others seem to be of the opinion that something went wrong with Elvis.  Nothing went wrong with Elvis; he had the perfect career from his first single to his death in 1977.  He was unable to withstand the pressures of his unparalled success.  Unable to move in public because of his fans he was virtually under house arrest.  For crying out loud, the guy couldn’t even go to McDonald’s.  On top of that he aroused the anger and enmity of the ‘greatest generation’, the Mob and if Mr. Marcus is any example, the Jews.  I’m sure he had difficulty just staying alive.

     His goal was the movies.  Thus his singing style changed to fit the venue.  As much as I loved the Sun Elvis there is no possible way he could have continued in the same vein and sustained popularity  for twenty some odd years.  The new Elvis of Heartbreak Hotel and the early RCA years lost me as a record buyer.  Still, as Dr. Hook sang:  Elvis, he’s a hero, he’s a superstar…. as a hero Elvis always retained my loyalty.

     While the Army seemed a disaster, his tour of duty may have been fortuitous for his career.  The Army allowed the excitement to abate even as anticipation increased but when he returned it was as a return with a different feel.  His style once again changed from the early RCA years.  Listening to those old Mario Lanza and Ezio Pinza records inspired him to sing operatic C&W.  Rather startling to my ear but with sure musical sensibility it worked for Elvis.

     And then his popularity was so immense that he was able to star in two to three movies a year with all of them being money makers.  The songs may have been less than memorable but he had to reach a mass audience for which popular music allowed of no vocal eccentricities.  His fan base was strong enough and his talent great enough to sustain his popularity through a couple dozen movies that were frequently scorned and mocked but as Mr. Marcus generously points out they offered something that set them apart. 

     As all things must his movie career passed its ethic and cannily realizing it Elvis moved on.  Thus in 1968 he produced a special that catapulted him back to the top of the musical scene.  Even Mr. Marcus was overwhelmed by the ’68 transition from movie star back to recording master.

     Nor did Elvis stop there but went on to a musical triumph that dwarfed anything that had gone before it including Frank Sinatra’s whole career- that was the satellite transmission form Hawaii to the whole world, the entire planet, simultaneously.  The whole world tuned in to Elvis at one time.  The equivalent of several hundred Woodstocks and something that has never been equaled by any other performer or groups of performers.

     So, what did go wrong?  Elvis had an unimaginably perfect career.  The tragedy is that the enormous pressures were too great for this amazingly centered performer.  It took a lot to beat him down.

     Now, Elvis had a popularity that Bob Dylan couldn’t even dream about.  Dylan could sing cranky little songs of hatred and viciousness such as Like A Rolling Stone to the ‘abused, confused, misused strung out ones and worse’ but Elvis couldn’t sing such viciousness to a worldwide audience.  Imagine Elvis Live from Hawaii singing to a mob of adoring women lines like this:

Aw, you’ve

Gone to the finest school alright Miss Lowly but you know you only used to get

Juiced in it.

Nobody’s ever taught you to live out on the street

And now you’re gonna

Have to get

Used to it.

You say you never

Compromise

With the mystery tramp but now you

Realize

He’s not selling any

Alibis

As you stare into the vacuum

Of his eyes

And say:

Do you want to

Make a deal?

How  does it feel?

How does it feel?

To be on your own

With no direction home

A complete unknown…

      Pardon me, I’m laughing so hard at the image I’m falling out of my chair.  Oops, there I go.

—–

     I’m back.  Didn’t hurt myself.

     So, anyway I consider Mr. Marcus’ whole critique so skewed as to be vitiated.  It would take a whole lot of love in Elvis heart to make such a musical gaffe, blowing his career in one misguided song and then say:  ‘I didn’t know what I had until I till I threw it all away.’  Sorry Greil, Bob Dylan is actually a minor talent.  Let us not forget that he once opened a show for the Rolling Stones.

5.

     There was a long hiatus of fourteen years between Mystery Train and the appearance of Lipstick Traces in 1989.  During that period one assumes that Mr. Marcus had ‘no direction home.’  How the elements that make up Lipstick Traces formed is open to conjecture.  He attributes his direction to one John Rockwell on the dedication page.  His style was also apparently heavily influenced by the Firesign Theatre hence the herky jerky, jumpy non-sequitur style.  The Firesign Theatre was one of the great recording acts of the late 60s and the 70s, still going too.  They have continued to release CDs on into their old age, such as it is, but, as I say, I stopped listening to anything after 1980.

     As the Firesign is essential to Mr. Marcus I suspect there is loads of humor in Traces that I’m not getting.  Hard enough to make those difficult jumps.  Juxtaposing Presley and Isou wasn’t even a jump, it was a gap.

      John Rockwell was some sort of music critic at the NYT so not exactly the sort of influence one would want.  As Mr. Marcus would have been already familiar with the Frankfurt School of which he is a continuator and mentions Dada in Mystery Train one imagines that critic Rockwell pushed him in the direction of the Presley lookalike Isidore Isou and incidents like the rather obscure Invasion of Notre Dame.  Mr. Marcus was five at the time of the Invasion; one doubts he remembers it.  Thus, perhaps Mr. Rockwell directed his eyes to the morgue of intriguing but all but forgotten news clippings with which he would have been familiar.  Thus Mr. Marcus found the Lettrist/Situationist International.

     The Paris disturbance following on the heels of the Free Speech brouhaha  would then have given him a focal point.  It appears that at some point Mr. Marcus met Debord becoming very well acquainted with the old drunk and pervert, as it were, a disciple.  When Debord shot himself through the heart in 1994 as with Drs. Mabuse and Baum Debord’s soul apparently entered Mr. Marcus’ body so that he appears to have assumed leadership of the SI.

     Traumatized by the Punkers who he gives credit for bringing down Rock he also became fascinated with Johnny Rotten and the Sex Pistols as well as several other Punk units.  Personally I have always thought Punk was absolutely useless hence I find Mr. Marcus’ fascination with this sub-marginal trash actually objectionable.  While his subjects knew that they were nothing and sought to be everything the means they chose to raise their chances of becoming something were ill advised.

     However as Mr. Marcus integrates them into the Dada/Lettrist/Situationist program it may be worth considering at least Johnny Rotten and the Sex Pistols who according to Mr. Marcus are an outgrowth of the SI.

     After the failure of the 1968 disturbance in Paris Debord’s SI seems to have become truly international what with Greil Marcus in the US and people like Malcom McLaren and Jamie Reid in England.  God only knows how many covert cells there were and what looneys they were allied with.

     McLaren and Reid were casting about for some way to epater the bourgeois when McLaren had an interview with the New York Dolls.  From them he conceived the notion  that no talent was needed at all to become a rock band.  One only needed the ability to make noise.  Fortunately for Reid and McLaren there were myriads of young losers who felt the same way.  One only had to pick and choose the most likely candidates on a cosmetic basis and give their repertoire a Situationist slant.  You know, create a situation.

     Mr. Marcus wonders from where the musical infuences for the Punkers came.  I have to say that their inspiration was largely Bob Dylan.  Johnny Rotten (ne Lydon) was born in 1956 so in 1975 he was twenty years old.  The Punks then would have been eighteen to twenty-five.  A primary influence on them would have been Bob Dylan.  Dylan’s first records give the impression of an untutored musician.  The stuff was just noisy.  He could neither sing nor play.

     The mean streak that Mr. Marcus finds so attractive in Like A Rolling Stone runs throughout the corpus.  As much as I hate to admit it that hateful mocking derisive attitude is the essence of Dylan’s style.  After having Mr. Marcus point this out to me so unmistakably I’m having to rearrange my memories of Bob to change their faces and give them all brand new names.  I’m having to become a revisionist of my own history.

     While Dylan is a real cultural name dropper so that he gives the impression of being learned, he isn’t.  Chronicles proved that.  His criticisms of society are merely emotional rants rather than informed or intellectual critiques.  That he could wing tripe like Masters of War past what must have been a fairly sophisticated Folk crowd is truly phenomenal.  Or, maybe I was wrong about them too.

     At any rate the Punkers were merely unhappy with their teenage angst.  I can assure you that I and my age cohort were too.  If the right social environment had been provided perhaps we would have responded in the same way.

     Johnny Rotten could not have had many of the thoughts Mr. Marcus attributes to him, the kid was only nineteen, so one must believe that McLaren and Reid filled in the blanks with Situationese and Rotten rearranged the words.  While McLaren and Reid may have turned a few dollars from the act it is difficult to see what else they accomplished.

     Society was developing rapidly without their help.  The band Devo released their significant LP Are We Not Men? A. We Are Devo that quite clearly reflected the direction in which society was headed.

     The amazing thing is that Mr. Marcus can discuss these insignificant nits at such length and with such seriousness.  His long discussion of Johnathon Richman’s ‘Roadrunner’ was entirely uncalled for.  Neither Richman nor his song had any influence in record circles.  The record wasn’t even available for sale.

     As Mr. Marcus neither owns up to being in the SI or gives any idea of the direction of the SI and ‘revolutionary’ groups I find that his book while full of interesting details is pointless.  I have read the thing five or six times for this review.  I have given the book more thought than it deserves.  If the intent is a sly joke I don’t find it very funny.  If the intent is to recruit members for the SI I find nothing agreable in the organization.  I remain unrecruited.  As a collection of non-sequiturs I find the book actually unreadable.

     If Mr. Marcus modeled himself on the Firesign Theatre his choice was admirable but his execution was execrable.  As a historian I’m afraid I would have to grade him below a C.  Perhaps the quality of the book is best expressed by the cover.

Why is he nothing when he should be everything?

End Of Review

 

 

 

The Deconstruction Of

Edgar Rice Burroughs’ America

by

R.E. Prindle

Part I

Snapshots Of The Twentieth Century

     Hey mama, mama, hey papa, papa

Ridin’ on the Mobile Line.

Hey mama, mama, hey papa, papa

I’m talkin’ ’bout the Mobile Line.

 Theys a road to ride baby,

Ease your troubled mind.

Trad.

     The time is 1912, the place is Harry Hope’s Bar in New York City.  A number of hapless alcoholic anarchists and socialists lay about waiting for the Revolution, Lefty, Godot or the one bright spot in their year, the appearance of a traveling salesman named Hickey who will regale them all with free drinks until his money runs out.

     Larry Slade, a despondent tired anarchist sits numbly staring into thin air when Don Parritt a young Movement member blows in from the Coast.  The Utopian revolution has crashed on the rock of psychological realities.   Don Parritt could not tolerate his mother’s one night stands turning her and the West Coast Movement in to the police.

Eugene O' Neill

—–

     The scene now shifts to the inside of a rundown movie theatre in Manhattan in 1943.  On the end row in the middle back slumps a tall gangly man of twenty-eight intently almost breathlessly watching the flickering movement on the screen listening with great concentration to the words booming from the loudspeakers.

     Well he might for the movie is one of the most amazing ever filmed.  Originally shot in Germany in 1932 the movie had been confiscated by Dr. Goebbels shortly thereafter as subversive.  Dr. Goebbels was right on the mark.

page 1.

     Thus the film had disappeared to be discovered and reconstructed only in the post-war years.  Wait! How then could the man be watching The Testament Of Dr. Mabuse in 1943?  Well, this is an amazing story.  The director, Fritz Lang, well knew his film would be suppressed by the German authorities so he had a parallel copy filmed in French at the same time.  This version was smuggled from Germany to France and from Occupied France to the United States even as the war raged.   What was so important about this film that it had been rescued twice and shown in the middle of the war? 

Fritz Lang

     The film was and is subversive and not only to Nazi Germany.  It is quite frankly a blueprint for the subversion of society, indeed, of all civilization.  Anarchism perfected.  The faithful were being given their post-war marching orders.  The Communists, of which faith the tall gangly man was, cleverly described the movie as an anti-Nazi polemic which it definitely was not.  They fooled a great many people but at the same time the faithful were directed to see the movie.  The message struck home.   The Capitalist State could be undermined.  As the man left the theatre he would always recall the moment as one of the great moments of his life.  A life changing moment.  He would subsequently review the movie many times, finally watching the German version when it was released.  The movie so overwhelmed his senses he never could get the story right.

     Three years later in 1946 the now thirty-one year old sat in a theatre watching a play with the same rapt intensity.  This too electrified him as much as the Testament Of Dr. Mabuse had in 1943.  The play depicting an earlier time had been writen in 1939 but for various reasons had never been produced until this evening.  The scene is set in Harry Hope’s Bar in New York City in 1912.  A group of alcoholic socialists and anarchists sat around waiting for the Revolution, Lefty, Godot or the appearance of a traveling salesman named Hickey whichever came first.  Hickey was first on the spot with money for drinks.

     Yes, the play was Eugene O’ Neill’s The Iceman Cometh.  The opening scene of the play occurred only in Eugene O’ Neill’s imagination.  True enough the story was nevertheless.  The tall gangly man watched this greatest of all American plays with feelings mixed with admiration and loathing.  Stunned by its brilliance, he resented the depiction of his fellow anarchists and socialists as bums.  The play was the antithesis of his favorite movie, The Testament Of Dr. Mabuse.

     As he left the theatre he was one of the few who realized he had watched a masterpiece.  He had to strike back in the name of subversion.  The character of Hickey, the traveling salesman, haunted his mind mixed with images of the terrifying sociopathic and insane Dr. Mabuse.  As he brooded the faint outline of a play of his own formed in his mind.  His play would be about a traveling salesman but would combine both efforts to attack and undermine the fabric of the American State as his favorite movie had taught him.

     He and his had been attacked and ridiculed by what he considered  the reactionary Eugene O’ Neill.  In only one or two years Arthur Miller’s Death Of A Salesman would assault and insult the American people.  Miller was clever, the Boobocracy didn’t even know it had been insulted.  The Judaeo-Communist propaganda machine went to work.  Today O’ Neill is all but ignored while Arthur Miller’s insignificant piece of fluff is mentioned in the same breath with Shakespeare.

—–

        Back once more to 1912 where a thirty-six year old man toils over what will be his second published novel.  The first novel was strange enough but the novel he is now writing will become perhaps the most unusual novel to ever become a best seller.

     O’ Neill wrote conventional prose, long winded sucker too; Lang’s Dr. Mabuse was comprehensible to the simplest mind although understood by few, the novel being written in 1912 would leave  men and women scratching their heads incredulously.  The novel defied conventional literary logic speaking instead to unspoken hopes and desires.  The author himself was terrified that the story was too strange.  But as he put a period to the last sentence of Tarzan Of The Apes and mailed it off, Edgar Rice Burroughs heaved a sigh and sat to wait for the verdict of the publisher.  It seems almost too incredible that such a bizarre story was immediately accepted with such enthusiasm.

DISASTER BY ANY OTHER NAME IS DISASTER

     The Heir to the first disaster, Woodrow Wilson, Franklin Delano Roosevelt was elected President of the United States in 1932.

TWENTY YEARS OF TREASON BEGINS

     Samuel Dickstein, a congressman from New York, sitting in the House of Representatives was on the payroll of the Premier of the Union Of Soviet Socialist Republics, Josef Stalin.

     In this capacity he pushed for a House Un-American Activities Committee to root out and punish opponents of the Soviet Union and Communism.  These people were labeled Fascists whatever their actual politics and defamed by the Judaeo-Communist Propaganda Machine.   They were usually anti-Communists opposed to the Soviet Union and perhaps to Uncle Joe himself.  Needless to say they were also characterized as anti-Semites.   This was done with the full blessing of Frank Roosevelt himself.

     In 1938 HUAC was created but the chairmanship went to a Congressman from Texas by the name of Martin Dies.  Although his name has been blackened by the Judaeo-Communist Propaganda Machine Dies was a good man.  A very good man.

     He promptly went after Communists as well as ‘Fascists’, which was not in Uncle Joe’s, Frank’s or Sam Dickstein’s script.  Dies was given a very hard time.  Captured by Parnell Thomas and the Roman Catholic religious faction after the war HUAC became dedicated to anti-Communism.  This was definitely not in the Red script so the Propaganda Machine was turned against HUAC after initially agitating for it.  The Communists now did everything they could to destroy the committee they had created.

WITH A SONG IN MY HEART

Irving Berlin

     Israel Baline, giddy with the success of the Russian Revolution sat down in Tin Pan Alley to write a sweet little song to the tune of an earlier hit, When Moses Led The Band With His Nose, entitled God Bless America.  He exhorted his fellow Culturalists to ‘stand beside her, and guide her’ as presumably he thought Americans were incapable of navigating a course without Semitic assistance.

     Presumably as part of the assistance and guidance the media of his ‘home sweet home’ was taken over and administered by his fellow Culturalists.  Tin Pan Alley, A Jewish cultural economic niche, was already accounting for a large part of culture forming popular songs.  Now in the twenties a flood of books was written by Jews, or Semites, debunking ‘Bad Old America’ as Greil Marcus has characterized it, and the poor ignorant boobs who formed the country the songwriter claimed to love, appeared.  Israel Baline’s Home Sweet Home was never to be the same as another of his Culture, Philip Roth, wrote a book eighty years or so on, The Plot Against America, in which, backdating a little to that critical year of 1943, Roth gives the Jewish Culture credit for creating ‘the land that he loved’ while the Bad Old American true creators are accused of corrupting it.

     God Bless America wasn’t orignally all that successful.  In the critical year of 1938, when HUAC was formed, Irving Berlin, for that’s who Israel Baline became, dusted the song off and rewrote it.  For now the game was afoot indeed.  In 1918 spreading a new song by sheet music and phonograph, without the use of radio, was along, laborious effort.  Things had changed by 1938.  In one night a new song broadcast over radio would be heard instantly by millions of people across this great land of ours.

     The contest between the Communists and Nazis was raging.  Uncle Joe Stalin, Sam Dickstein and Frank Roosevelt had established the House Un-American Activities Committee for the purpose of rooting out not only Nazis but, you guessed it, ‘anti-Semites’ and , if fact, enemies of the New Deal.  Irving Berlin’s song reintroduced in 1938 was a very strategic emplacement.  The same words have different meaning for different Cultures.  Thus the message sent to the Jewish Culture by the song was different from what was heard by the general culture, or most of it.  I always had difficulty with the song as a child, refusing to sing along.  I couldn’t reconcile the words:

God Bless America land that I love.

Stand beside her,

And guide her

Thru the night with a light from above.

        ‘Land that I love’ implies a choice of lands and I knew no other lands nor any other choice.  As I was ‘America’ to ‘stand beside her, and guide her’ meant that I would have to be beside myself which was clearly impossible.  I considered the last line pure nonsense.

     I couldn’t articulate my understanding at the time but I was not alone in my perception.  Apparently feeling the insult, Woody Guthrie wrote an answer in 1940 originally entitled God Bless America For Me.  It seems clear he understood the cultural implications.  He later changed the title to the very aggressive This Land Is My Land- this land is your land, from California to the New York Island.’  I didn’t know it but I wasn’t alone.

     One of the most popular radio shows of 1938 starring the most stellar of Anglo-Saxon singers was chosen for the debut to make sure the song had strong ‘American’ credentials.  Berlin and his culture knew what the song meant.  Georgie Jessel wasn’t right for this one.  Kate Smith could really belt it out too.

     The Kate Smith Society historian Richard K. Hayes tells the story like this:

http://katesmith.org/gba.html

     Quote:

     Now Kate Smith was the No. 1 popular songstress in America in 1938, and her weekly Kate Smith Hour was heard by many millions of radio listeners that Thursday, November 10.  The shy composer was invited to attend the show but he declined, opting to listen with a few friends in his office at his music publishing company in New York.  Kate sang it as her closing number after which Berlin’s phone began to ring, as people began to ask, ‘Where can we get that song Kate Smith just sang?”

     The new anthem electrified the nation and Kate sang it on nearly every broadcast through December, 1940.

     Unquote.Kate Smith

     The song was revived in the equally crucial year of 1943 when Kate Smith rendered it in the Warner Brothers movie This Is The Army.  This was the year it became clear in Jewish circles that the Nazis were bent on exterminating European Jewry.  It would be more urgent than ever to reinforce the notion of a Jewish and American ‘partnership’ which is what the song implies.  The protection by America of the Jews was paramount in Jewish minds.  Now more than ever it was necessary for the Culture ‘to stand beside her, and guide her.’

SO LONG, IT’S BEEN GOOD TO KNOW YA

     FDR did the United States a favor by passing away in 1944.  Could have done it earlier and made it a big favor.  Succeeded by his VP Harry Truman  the FDR-Truman years would be characterized by the stout Roman Catholic anti-Communist, Joe McCarthy, as Twenty Years Of Treason.  Joe got it right but heavily infiltrated by Judaeo-Communists he was made to look ridiculous and a fool.  Needless to say the Propaganda Machine has ground an honest American to dust.

BETRAYAL

     The man who created Tarzan had been working away developing his creation, who was well on his way to becoming the reigious archetype for the Aquarian Age.  Himself a stout anti-Communist, capable of creating a new scientifically based religion, it became necesary for the Machine to co-opt his creation while neutralizing Burroughs himself.  Accordingly, the Judaeo-Communists at MGM lured Burroughs into a contract in 1931 then stripped him of his creation while ultimately exiling Burroughs himself from Hollywood in 1940.

SOUR GRAPES

     Anxious to join the war against Germany, John Dos Passos joined the ambulance corps in France.  the experience of the war was the making of Dos Passos (1896-1970) as a writer.  In 1924 he published his novel, Manhattan Transfer, since become a minor classic of the period.  During the thirties he began to write and publish his magnum opus the USA Trilogy.  Composed of The 42nd Parallel, 1919 and The Big Money the trilogy would cover the years from approximately the time of his birth to the 1920s.

     In 1906 he would have been called a muckraker; in 1935 he was one of the Jewish debunkers.  He didn’t just debunk one person he debunked a whole people.  There is not one single admirable person is his story and few if any immigrants.  One asks as one reads, why would anyone want to know these people or live in the US?  He’s attacking the ‘Anlgo-Saxons’.  These are all Bad Old Americans in Bad Old America.   While others were writing utopias Dos Passos ground out these dystopias- people you didn’t want to know in a place you didn’t want to be.

     Some caricatures are easily recognizable.  Bernarr Macfadden is laughable present.  There are some incidents reminiscent of Edgar Rice Burroughs who in the 1930s was a world renowned figure.  Dos Passos was born in and spent some of his youth in Chicago but would have been too young to actually have observed what he was writing about.  He was only sixteen when he left for France and his ambulance.  Thus his writing was based on hearsay and rumor.

     John Dos Passos may be considered a key figure in the deconstruction of Edgar Rice Burroughs’ America.  His constant derogation of people, places and things either set or reinforced the negative critical attitude which has since become the norm.  My most recent reading left me with a slight feeling of nausea for have visited Dos Passos dystopian Bad Old America.

A SOLDIER OF FORTUNE MOVES ON

  Invictus

W.E. Henley

Out of the night that cover me,

Black as the pit from pole to pole,

I thank whatever gods may be

For my unconquerable Soul.

In the fell clutch of circumstance

I have not winced nor cried aloud,

Under the bludgeoning of Chance,

My head is bloody but unbowed.

Beyond this Place of wrath and tears,

Looms but the Horror of the Shade,

And yet the Menace of the years

Finds and shall find me Unafraid.

It matters not how strait the gate

How charged with punishments the scroll,

I am the Master of my Fate,

I am the Captain of my Soul.

     In March of 1950, if not one of the greatest men of the 1850-1950 period, certainly one of the most influential shuffled of this mortal coil and did his cake walk over to the other side.  Edgar Rice Burroughs had seen enough.  This stuff wasn’t funny anymore.

     It was a tough fight.  Burroughs was a tough fighter but life is a fight one must inevitably lose.  Like his generation and three or four following it Burroughs embraced Henley’s Invictus of 1896 as his own creed.  There are no golden ages except in retrospect; his was as tough and violent as they come.  Born at the end of that great criminal holocaust known as Reconstruction, Burroughs was always sympathetic to the South.  He owned volume three of Thomas Dixon’s trilogy on Reconstruction while certainly having read the first two.

     When it comes to holocaust denials liberals have no interest in acknowledging the great crimes they have perpetrated.  The Reconstruction period is barely mentioned in US histories and then with no references to the egregious crimes committed in the name of ‘social justice.’  This is not the place to go into them.

     Suffice it to say the bigoted Old Testament Hebrew immitating Puritan wannabes  of New England- read New Anglia- meant to reverse the situation in the South making the Whites virtual slaves of the Negroes.  That they failed is one of the great epic histories of mankind.  Reconstruction is a story that remains untold.  In control of the media, text books and all, Liberals have attempted to bury the truth with a slight condemnation of a ‘small minority’ of Yankee thieves known as carpetbaggers.

     The crimes of the Reconstruction period rival and surpass even those of Adolf Hitler against the Jews.  Many more people were affected by Reconstruction while millions lost their lives during Reconstruction and in the war that preceded it that had nothing to do with Negro slavery.

     Filled with stories of the evils of Reconstruction perhaps heard from the lips of victims and victimizers, young Burroughs followed the Indian Wars of the eighties in the pages of his native Chicago papers.  He in fact participated in the final suppression of the Apaches.

     As a young man he witnessed the terrific technological expansion of America.  All the inventions we take for granted today were invented in his lifetime with the exception of photography.  He saw the first airplanes  fly and watched them metamorphose into supersonic jet planes.  He saw the first Model T and watched it metamorphose into what is now considered the classic 1949 models.  Movies, radio and even the first glimmerings of television.

     Amonst all these positive developments he also watched the deconstruction of the America he grew up in.  The advances in technological developments themselves brought about incredible changes.  The propaganda capabilites of movies, radio and TV by a process of gradualism in the hands of a selfish culture graually eroded the values of his childhood and youth beginning their replacement by the antithesis of everything he believed in.  They turned the Bad Old America of their fancy into the cesspool America has become under their guidance while they stood beside us.

     He had been a central figure in the deconstruction of America himself whether he knew it or not.  He embodied his character of Tarzan with all those venerable  American values placing himself under attack by those who wished to replace them.  He survived the brutal battering he took in the thirties his ‘head bloody but unbowed.’

     In the menace of those years he continued to patiently endow Tarzan with those qualities we his successors would need to be the  ‘Masters of our Fates; the Captains of our Souls.”  He was able to organize a hope and belief for the coming Aquarian Age.

     So, here’s to Edgar Rice Burroughs and his great projection, Tarzan.

     Rest not in peace Old Warrior but alert to the dangers we face on this side of the divide.  Live on in our hopes and needs.  You continue to inspire and guide us.  May we be worthy of your trust.

End of Part I  of The Deconstruction Of Edgar Rice Burroughs’ America.   Part II Follows.