The Great Jewish Rock’N’Roll Swindle (Part 1/3)

August 23, 2016 Robert Heimdal 

 

Diving in the poisoned waters of the Jew-owned rock music industry of yesterday and today

Introduction: Judeo-Masonic Conspiracies in Rock

Some people might think that this agenda of the Kosher Judeo-Masonic/’Satanic’ all-seeing eye mind control operation might be a recent phenomenon in popular music. Far from it, all this conspiracy started long ago, and it is not coincidence the 1960s were probably the era in which this agenda started fully fledged. We know what happened in those years so I’m not going to get redundant here.

One of the things that drives me crazy the most is that this argument is ALWAYS delivered from the ‘Christian perspective’ (just search some articles on the subject). One always ends up mired in this Christian eschatology of the forces of ‘evil’ personified by the ‘evil cabal of Illuminati’ conspirators in the entertainment industry (which is true of course, I’m not going to deny that) in contrast with the very virtuous Christian mindset. I want to make this exposé from a more realistic standpoint, discussing the issue without any messianic overtones of what it is; just controlled opposition.

Here we are given two choices, either you are with the Christians or you are with the ‘Satanic’ Masons of Big Media Incorporated. Just like everything else; Pepsi vs Coca-Cola, McDonalds vs Burger King, East vs West, Communist vs Capitalist, Democrat vs Republican, Trump vs Hillary, you name it.

One of the most important aspect of this music subculture has always been the aim to separate generations of folks. Now it all seems pretty clear to me that it was not an accident many of these so-called ‘urban tribes’ were created after the 1960s (it started earlier than that in actuality with greasers and mods), the most notorious of them was of course the ‘Hippie Generation’ (also known to many people as The Baby Boomer generation). Seeing it from a certain perspective, this ‘urban tribe’ phenomenon, as it evolved over the years, was trying to further divide a particular generation of young people into different compartments if you will, but most of all to separate the younger generation from the previous generations. The funny thing is that, surprise-surprise, we can find something very akin to that in the Bible of all places:

{10:34} Think not that I am come to send peace on earth: I came not to send peace, but a sword. {10:35} For I am come to set a man at variance against his father, and the daughter against her mother, and the daughter in law against her mother in law.” – Matthew, from The King James Version of the Holy Bible

These are words uttered by Jesus Christ in the Bible. I don’t know if the reader can notice certain ‘parallelism’ here. Is it my imagination or we are getting the same agenda of generational separation from both ends of the spectrum? After all, what is Jesus Christ but a sort of ‘rock’n’roll star’ to many Christians (does anyone remember ‘Jesus Christ Superstar’), and don’t many Christians follow Jesus with the same fetishistic devotion? I’ll let it sink in.

‘Christianity will go. It will vanish and shrink. I needn’t argue about that; I’m right and I’ll be proved right. We’re more popular than Jesus now; I don’t know which will go first, rock’n’roll or Christianity. Jesus was all right but his disciples were thick and ordinary. It’s them twisting it that ruins it for me.’ – John Lennon

But, is Christianity free from this JWO agenda? Obviously not if one reads the online article entitled New World Order Occult Images in Contemporary Christian Music (CCM) by David J. Stewart (it seems David himself is a Christian). So it seems to me it is not only ‘Paganism’ that has been corrupted by the Jew by ways of ‘Wicca’, ‘multiculturalism’, ‘Satanism’ and the whole ball of wax. Always behind the curtain the Jew is omnipresent everywhere, maybe that is why he believes himself to be the ‘chosen of God’.

Part 1: The Amazing Psychedelic Jews

Going back in time, it would be a bit ‘ungrateful’ for my part not to mention the great ‘contribution’ that the Jews have gracefully given to us through the music industry ever since that pivotal decade which was the 1960s happened. Everyone knows the story of The Beatles and their Jewish manager Brian (((Epstein))), but what about the States? I would specifically focus on the West Coast, the epicenter of the Hippie movement.

After some brief research I have found out there was not a single band (at least as for the big names was concerned) in that particular time and space that did not have at least one Jew member or two in its line-up; Jefferson Airplane (Marty Balin – singer and Jorma Kaukonen – guitar), Country Joe and The Fish (practically a Jewish band: Country Joe McDonald (Allen) – singer, Barry Melton – lead guitar, Gary “Chicken” Hirsh – drummer, and David Bennett Cohen – organ), The Doors (Robbie Krieger – guitar), Spirit (Randy Craig Wolfe a.k.a. Randy California – guitar), Grateful Dead (Michael Steven Hartman a.k.a Mickey Hart – drummer), Quicksilver Messenger Service (David Freiberg – bass guitar), Mamas and The Papas (Cass Elliot – singer, born Ellen Naomi Cohen) and so on and so forth.

There were other illustrious Jewish musicians at that time, such as Leslie West, born Leslie (((Weinstein))) of the band Mountain on the East Coast, and Robbie Robertson of The Band in Canada, also female singer/songwriters such as Carly Simon, Carole King and Janis Ian.

Spot the Jews: One of the most overrated bands of the era, Country ‘Jew’ and The Fish were practically a Kosher band. Notice the hand gestures.

As for Jefferson Airplane the number of Jews in its line-up increases and decreases according to different sources. It is said the late Paul Kantner was a Jew but I have not found evidence of that (unless the name ‘Kantner’ is an Ashkenazi name).

The Mamas & The Papas: A Cohen on top of the pyramid scheme.

Janis Ian (Janis Eddy Fink): This hideous vermin’s only claim to fame was her 1965 song “Society’s Child” a.k.a. “Baby I’ve Been Thinking”, a song about ‘the feelings of a young girl who witnesses the humiliation that her African American boyfriend receives from the girl’s mother and the taunts that she herself endures from classmates and teachers. It closes with her decision to end her relationship with the boyfriend because of her inability to deal with the social pressure’ (from wikipedia). This popular ‘song’ was covered by other artists, among them British rockers Spooky Tooth (shame on them) just to show that the whole thing did not precisely ‘fade into obscurity’. Famous producer Leonard (((Bernstein))) made sure the fucking song was going to get lots of airplay… and boy it did. The single was #1 in several key cities across America, though in July 1967 it stalled at #14 on the Billboard Hot 100 mercifully due to lack of ‘acceptance in certain markets’.

But if there ever were ‘influential’ Jews in the music industry of that time (this side of Phil Spector himself) I should mention the triad Bill Graham, Allen Ginsberg and Bob Dylan.

Bill Graham’s story contains all the elements of a good Jewish story; a German Jew who supposedly ‘escapes the Holocaust’ in WWII and ends up finding fame and fortune in the United States as an impresario/promoter in the entertaining industry (controlled by his fellow tribesmen of course). This Jew, along with Chet Helms, made famous the Fillmore and Winterland Arena Ballrooms (the ones featured in so many psychedelic posters of the era) which turned out to be stepping stones to fame for rock bands of the San Francisco Bay area, such as the Grateful Dead, Jefferson Airplane, The Doors, and Big Brother and the Holding Company (with Janis Joplin), who were first managed by Chet Helms himself.

Bill Graham (real name Wulf Wolodia Grajonca) holding some memento mori for the camera.

The team Bill Graham & Chet Helms together with Family Dog Projects promoted concerts and events that provided a social meeting place to ‘network’, where many various ideologies (go figure) were given a forum, sometimes even on stage, such as ‘peace movements’, ‘civil rights’ and so on (just in case the reader was wondering what all the fuss was about). Later on in life Graham died in a helicopter crash (that was in 1991). I ignore if Chet Helms was a Jew himself, but I have found out that Family Dog projects contained a few Jewish members as well, like a certain Alan Stone. Stone was the announcer and DJ at many of the shows.

Allen Ginsberg, circa 1979. Who would not trust somebody with a ‘face’ like that?

Allen Ginsberg is someone who does not need any presentation either. I would just recommend reading Dr. William Pierce’s article on such character, re-published not too long ago by the National Vanguard website, entitled Allen Ginsberg: Media Model for America’s Youth, but I will let the author speak for himself:

Ginsberg was a drug-crazed, homosexual, Communist Jew. I do not use any of those terms lightly. He was very homosexual, very Communist, and very Jewish, and he was a big promoter of drug use by young people back during the 1950s and 1960s. He was not a guru, if we intend the normal meaning for that word, which is “spiritual teacher.” Judging from what he said and wrote during his life, he never had a spiritual impulse. Nor was he a poet, if we have any reasonable definition of what constitutes poetry. Of course, he pretended to be both a guru and a poet, and the media vigorously supported his pretensions. He was simply a degenerate piece of filth. His mind was a sewer. He was a con man, who made a good living from his pretensions.

Aside from all this Allen Ginsberg was a strong supporter of NAMBLA, that pro-pederast organization. So Enough said.

Kike supremo Bob Dylan (Robert Allen Zimmerman) was the all-time muso of the Hippie Era.

To get a somewhat accurate idea of what Bob Dylan was really all about back in the 1960s the Occidental Observer’s article entitled Quantum Dylan – A Double Act (Part 1 & 2) is a good place to start, regardless of the over-intellectual overtones one might find in it. There are a few quotes from said article which I would like to include next for the sake of brevity:

‘Murphy (p. 57) quotes Dylan, saying that “Truth was the last thing on my mind, and even if there was such a thing, I didn’t want it in my house.” Hence, deception, deceit, misidentification – “the losing and finding, reversing and inverting, hiding and confusing, masking and revealing of identity” – are essential to any Dylanological analysis.’

‘As Douglas Holt and Douglas Cameron have outlined, the name of the game in cultural innovation is to deliver an innovative cultural expression, consisting of an ideology “brought to life” with the right myths and cultural codes in the aftermath of major historical changes and social disruptions (e.g., the “culture wars” of the 1960s). Dylan certainly did that. The messages of Dylan’s music consistently dovetailed with the countercultural views of the wider Jewish community and with the nascent Jewish intellectual elites that came to dominate intellectual discourse in the period following WWII.’

To prove my point here there are a few quotes taken again from the aforementioned article which shows pretty clearly, and without any shadow of doubt, who were the primary Ethnic elements behind this ‘cultural revolution’. I hope that clarifies the case even further:

‘Most of the characters involved were Jews coming from middle-class backgrounds: Stefan Grossman, Danny Kalb, Roy Blumenfeld (the drummer in the Blues Project whose father was an orthopaedic surgeon), Andy Kulberg, Al Kooper, Michael Bloomfield (who detested the White middle-class, conformist suburbia of his childhood), among others.[16] The bulk of the group that backed Dylan at Newport came from the Chicago-based electric blues group Paul Butterfield Blues Band – one of the first integrated American popular music groups.’

‘… all three major folk-oriented record labels, Elektra, Vanguard and Folkways, were owned by Jews, and most of the important managers – including Harold Lewenthal, who managed Woody Guthrie, Pete Seeger, the Weavers, and Judy Collins among others; Manny Greenhill, who managed Joan Baez among others; and Albert Grossman – were Jewish.

‘Many of the most significant and pivotal figures in the American folk revival were Jewish’, and goes on to explain that this included both performers and organizational figures. Ned Polsky, in his ethnography of the Greenwich Village beat scene in 1960, notes more generally that, “The Village devotees of ethnic music are historically minded, scholarly, middle-class youths, mostly Jewish.’ Clearly, Jews were central to the folk revival.’

Talking about influential records labels, Elektra Records was home of producer Paul Rothchild who produced artists like The Doors, Lovin’ Spoonful, Joni Mitchell, Neil Young, Tim Buckley, Love, The Paul Butterfield Blues Band, Janis Joplin, etc. He became a house producer for Jac Holzman who owned the label. He worked extensively with prestigious recording engineers such as Bruce Botnick, John Haeny, Fritz Richmond, and William Gazecki (again spot the Jews). I ignore if Paul A. Rothchild had any connections with the Rothschild family (his name differs slightly for just one ‘s’). I have not found evidence of it anywhere though.

Afterword

I hope this helps to give an overview to the reader on the scope these Jews had in the so-called counter-culture of the sixties. I know I’m leaving many names behind but I invite the reader to continue researching if he or she finds the subject relevant. I for one would recommend once again the book by late author and researcher Dave McGowan entitled ‘Weird Scenes Inside The Canyon: Laurel Canyon, Covert Ops & The Dark Heart Of The Hippie Dream’ (Headpress 2014). Even if the book is far from being perfect (the author refuses to name the Jew for some reason, even if the names are there to be seen in plain sight) I highly recommend it reading. I wrote a good review of it here at Renegade if you want to check it out in my article The Flower Power Conspiracy.

That’s all folks. Next amazing episode will be about the role Jews played in the music industry back in the 1970s, 1980s and beyond.

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References:

– Rock ‘N’ Roll Jews: The Jewish contribution to the development of rock music by Michael Billig (November 24, 2003)
– Confirmed Jewish Musicians at Woodstock by Nate Bloom (August 14, 2009)
– The Secret Jewish History of The Grateful Dead by Seth Rogovoy (June 29, 2015) Forward
– What Does Jewish Rock Look Like? by Dustin Oneman (April 28, 2006) Savage Minds
– Bill Graham Wikipedia
– Six Jewish Companies Control 96% of the World’s Media by Socio-Economics History Blog
– Alan Stone The Incredibles by Penn, 60’s Survivors
– Allen Ginsberg Media Model for America’s Youth by Dr. William L. Pierce (Published originally by Free Speech magazine, June 1997) re-issued on May 31st, 2015 for National Vanguard
– Quantum Dylan – A Double Act, Part 1 & 2 by The Occidental Observer (June 2011)
– Jorma Kaukonen’s Jewish Journey by Wayne Robins (August 12, 2015) Tablet Magazine
– Jefferson Airplane’s Jewish mind by Yoav Friedman (December 19, 2010) YNet
– Paul A. Rothchild Wikipedia

 http://www.renegadetribune.com/great-jewish-rocknroll-swindle-part-13/