Continued from Part 1
Diving in the poisoned waters of the Jew-owned rock music industry of yesterday and today
Part 2: Punk Jews supposedly ‘rebelling’ against the previous generation of Hippie Jews (Ha!)
Before starting I would like to add a quote for those who might think that Jewish rockers are only Jewish ‘by accident’ and, in no way, they are related to any cause pertaining the ‘Jewish cause’:
Perhaps even more than other American-Jewish rock stars such as Billy Joel and Bob Dylan, Lou Reed was fiercely proud of being Jewish – and included lyrics on behalf of Israel and against anti-Semitism in some of his songs. I mention Reed’s Jewishness because not a single obituary I have read of him in the mainstream press mentions it, when for Reed it was an important factor.’ – Taken from the article ‘Lou Reed’s Stand for Israel and against Anti-Semitism’ by Tom Gross on National Review.
Maybe Gene Simmons’ (KISS) overtly ‘grateful’ words to America, the country that gave him fame and riches, should be quite explanatory:
I’m Israeli. I’m a stranger in America. I’m an outsider,” he said, speaking in a hotel lobby across a valley from the walls of Jerusalem’s historic Old City. “I was born here and I’m proud of it.” – From article ‘Kiss Lead Singer Gene Simmons Slams Israel Boycotters’ by The Associated Press (Mar 22, 2011).
Another quote. This time by Simmons’ KISS partner, in his own words:
I grew up in a household where most of my parents’ friends had numbers on their arms and from the time I was little I was always aware of the Holocaust and I was always aware that I was Jewish… even if we didn’t practice, to this day I’m proud to be Jewish. I think it’s my obligation to all the people who for centuries have been persecuted, it’s my obligation to make sure that their story is told, that my children know it and that it never gets minimized or distorted.’ – Paul Stanley on Jewish identity (YouTube) [Text transcription by author].
Back in the 1980s, as a kid, I was immersed in all the hard rock music culture of the time (fortunately only to a certain extent) in spite of not having too much money to buy anything. I was some kind of ‘cultural renegade’ as well (if one wants to put it as such). I had my hair long, wore black t-shirts with colourful, extreme designs printed on them, and the whole nine yards. Nothing extraordinary though.
When there aren’t many role models to choose from, this Jewish-dominated culture takes charge of manufacturing them for the masses, especially for young folks. Mind you, not all of these role models back then were all that bad, but there were others who should be held accountable for their bizarre tendencies. For instance, those who introduced the gay-bondage underground subculture to popular music. At the end of the day all these non-Jewish artists became part of the agenda, whether they like it or not, but let’s take a look to the black hand behind the curtain.
Even if the image of leather jackets and motorbikes was already pretty much associated with rock’n’roll via movies like ‘The Wild One’ (1953), ‘Easy Rider’ (1968) and obscure outre films like the proto-gay ‘Scorpio Rising’ (1963) by homosexual director Kenneth Anger, it was the band Judas Priest via its singer Rob Halford who by the end of the 1970s popularized the image of the BDSM sub-culture for heavy rock fans. The Punk movement had also popularized this trend by some time earlier, thanks to people like (((Malcolm McLaren))) and Vivienne Westwood, both founders of the clothes store SEX where innovative and provocative fashion items designed by Vivienne herself were combined with authentic bondage & fetish gear. From this crossover of styles a ‘new look’ emerged; it was called ‘Punk’.
Malcom McLaren alongside Bernard Rhodes (another Jew) were the brains behind the emergence of the British Punk movement. The credit goes to Rhodes for discovering John Lydon (a.k.a. Johnny Rotten). It was he who arranged the famous audition in King’s Road for Lydon to join the Sex Pistols. Rhodes pull some strings for The Clash as well, not only as manager, but also as marketing and creative director (cohencidentally Mick Jones, guitarist and songwriter for The Clash, is Jewish too).
There is an article entitled Sex & drugs & herring rolls Punk’s Jewish roots revealed by Nick Hasted, which basically exposes how Jewish the phenomenon of Punk Rock was in its inception. At first it all might seem like ‘Jews taking too much credit for themselves’ but after reading these passages one definitively begs to differ:
Punk rock’s transatlantic fuse was lit when Malcolm McLaren saw Richard Hell in New York in 1975. McLaren, whose Jewish family background was in the East End rag trade, was already running the King’s Road boutique, Sex, with Vivienne Westwood. Hell, originally named Meyers, whose Jewish father had died back in Kentucky when he was eight, was sporting a black leather jacket, torn, scrawled-on and safety-pinned T-shirts, and short spiky hair. This prototype for the Sex Pistols had with his former band, Television, recently turned the club CBGB into the Bowery’s punk hothouse. The club was run by Hilly Kristal, Jewish too. By 1976, McLaren had parlayed Sex’s success with a radical form of schmutter into the Sex Pistols-led British punk movement. In London and New York, punk had substantial but rarely remarked Jewish roots.
As for Malcom McLaren an entire article could be written on his life and ‘miracles’. n entire article did I say? An entire book would be more appropriate. Among his ‘achievements’ I have to also mention his superb contribution to rap ‘music’ by ‘bringing hip-hop scratching to Britain’. Thanks Malcom.
In other words, McLaren takes heat for having been what we might call a “cultural Leninist,” someone who thinks that movements are more successful with a leader in the vanguard. Such sentiments are easiest to discern in the comments readers submitted to his obituaries, which were not subject to editorial smoothing. “Another degenerate bites the dust,” wrote one person in The Telegraph, implicitly indicting not only McLaren’s investment in fashion, but his retrograde conviction that people must be manipulated for their own good. – The Meaning of Malcolm McLaren by Charlie Bertsch (April 28, 2010) published by ZEEK
Or in other words, even in Punk Rock the subversive Jewish-Communist tendencies are there to be seen in plain sight.
I suppose what I am getting at is that, well, he was Jewish. Didn’t he find the swastika repulsive? ‘Not at all. I didn’t give a damn about all that. I thought it was just great.’ He didn’t give a damn about the Holocaust? ‘Look, sometimes a younger generation doesn’t want to inherit the history of an older generation, so we wanted to appropriate the swastika for ourselves. We wanted to have a clean slate. We decided that we liked certain icons from the past and wanted to reinvent them. We were trying to mix pop culture with politics and art.’ from Malcolm McLaren: Punk? it made my day by Nigel Farndale (Sept 30, 2007) The Telegraph
To conclude this part I will say that ‘Punk’ as a social phenomenon should NOT be underestimated. Even if ‘Punk Rock’ as a musical style might have been a somewhat ‘organic’ phenomenon in its inception it is pretty self-evident to me that the whole movement was part of the Cultural Marxist agenda which hit the Western World after WWII, especially taking into account how fast the whole thing spread throughout England without the need of much ‘promotion’. ‘Punk’ shows all the elements of a camouflaged Marxist cultural revolution, never mind the swastikas. Elements such as the emphasis on the widening of the divide between classes (the ‘haves’ and the ‘have-nots’, taking John Lydon’s own words) and the revolt against previous generations (including hippies) should be quite telling. We are here talking about the England of the ‘Winter of Discontent’, the rampant unemployment, the hyperinflation, the strikes and the heaps of uncollected rubbish bags piling up in the streets of London. It was the perfect ‘chaoscenario’ for such generational phenomenon to happen, and as we all know now, when such things manifest themselves (whether they are organic or not) the Jew is going to be there pulling the strings behind the curtain, channeling the anger of the downtrodden to achieve his own plans. Those who might remember those years will be able to address how influential this social phenomenon was in the fields of art, media, fashion, literature, and of course music, during that decade but especially during the 1980s.
I was the ultimate mismanager because I was looking for ways to create chaos. The Sex Pistols were young and ignorant… We wanted to create an artistic movement that would be like a political revolution. We wanted anarchy’… True. So he sees punk as his legacy to the world? ‘People are beginning to learn the truth about punk, and how instrumental I was in the development of it. That will change the way people will think of me. That will be in the obituaries. As barbaric a culture as it is, the English Establishment is coming to terms with the fact that punk was the best thing that ever happened to it. It wouldn’t be the country it is today without punk.’ – Malcolm McLaren: Punk? it made my day by Nigel Farndale (Sept 30, 2007) The Telegraph
Sex, drugs and self-debasement
An article of this calibre would be incomplete without mentioning The Velvet Underground. The Velvet Underground was an American band active from 1965 to 1970 under the leadership of the same man by which I started this article; Lou Reed. Although if the band never achieved any commercial success in its heyday, Velvet Underground is often mentioned by many critics as ‘one of the most important and influential groups of their era and to many future genres’.
The Velvet Underground was a book about the sexual underground of the early ’60s by Michael Leigh that Cale found when he moved into his New York City apartment (left by previous tenant Tony Conrad). Reed and Morrison have reported the group liked the name, considering it evocative of “underground cinema”, and fitting, due to Reed’s already having written “Venus in Furs”, inspired by Leopold von Sacher-Masoch’s book of the same name, dealing with masochism. The band immediately and unanimously adopted the book’s title for its new name.” – From The Velvet Underground’s wikipedia article.
By 1965 modern ‘artist’ Andy Warhol replaced Velvet Underground’s previous Jewish manager Al Aronowitz, a move which put the band on the spotlight as it helped the group gain a ‘higher profile’, though that was only for a stint. The philosophy of the band was pretty much self-explanatory with titles such as Sister Ray, Waiting For The Man and Heroin among others. Lou Reed (who was the main composer) also explored other themes such as masochism, wife beating, transvestism, homosexuality and more heroin addiction later on during his solo career in the 1970s with albums such as Transformer (1972) and Berlin (1973). Velvet Underground were the definitive early stepping stone for Punk Rock.
Now, who’s that knocking
Who’s that knocking on my chamber door
Now could it be the police
They’ve come to take me for a ride ride
Oh, but I haven’t got the time time
Too busy sucking on my ding dong
She’s too busy sucking on my ding dong
Oh, now, just like Sister Ray said
I’m searching for my mainline
I couldn’t hit it sideways
I couldn’t hit it sideways
– ‘Sister Ray’ (last paragraph) by Velvet Underground, 1967.
Turning rock fans into punk-looking ladyboys (or worse)
As a tiny example among this whole subcultural miasma I want to mention the phenomenon of Glam Rock, especially the Glam Metal of the 1980s (a direct musical descendant of both 70’s Glam Rock and Punk Rock) and how Jewish-controlled all that was.
How many Jewish singers related directly or indirectly to the ‘Glam Rock’ and ‘Punk Rock’ phenomenon come to mind? I can name a few; Marc Bolan (T.Rex), James Newell Osterberg a.k.a Iggy Pop, Gene Simmons (Chaim Witz) and Paul Stanley (Stanley Harvey Eisen) from KISS, Joey Ramone (Jeffrey Ross Hyman) from The Ramones, Lou Reed, David Lee Roth of Van Halen, Ric Ocasek (Richard T. Otcasek) of The Cars, Chris Stein of Blondie, Dee Snider of Twisted Sister, Sylvain Sylvain (Sylvain Mizrahi) of The New York Dolls, Bob Geldof of Boomtown Rats, Mick Jones (Michael Geoffrey Jones) of The Clash, Tom Keifer of Cinderella, Eric Bloom and Sandy Pearlman (singer/guitarrist and manager respectively of Blue Öyster Cult) and many, many others. Even the founding manager of The Sex Pistols Malcolm McLaren is a descendant of Portuguese Sephardic Jewish diamond dealers (no kidding, check his wikipedia entry).
But going back to England, one of the most exemplary stories is the one of Def Leppard, brilliantly illustrated in the article Rock of the Illuminati; The Def Leppard Story by Timothy Fitzpatrick. Is it any wonder why Def Leppard’s managerial team was headed by two Jews named Cliff (((Burnstein))) and Peter Mensch? (both from Q-Prime Management) Funny enough, Def Leppard’s lead singer John Elliot is a Jew as well, so everything falls into place nicely.
By no means I’m covering all rock’n’roll Jews from the 70s and 80s with this article (among them The Beastie Boys, a 100% Kike band); far from it. My intention has been to only focus on the ‘pioneers’ of the movement. I invite the reader to use this exposé as a stepping stone to start his/her own research, with that intention and before closing this article I would like to add a list for those who wish to do so. I have to congratulate metapedia for having done such a good work putting together this long, long list, though I have my doubts about the Jewishness of some of the musicians included in it (Ace Frehley is definitively NOT a Jew. Roky Erickson, I have no evidence of him being Jewish):
List of Jewish American singers and songwriters by metapedia
Going back to my opening comment about ‘role-models’ it is almost inevitable for me not to think about the ‘legacy’ of people like Lou Reed and The Velvet Underground, how crystal clear it appears to me now that all the hyped reputation they gained along the line as a ‘pioneering’ band was part of the same subversive Jewish psychological agenda. Certainly characters like Andy Warhol were not there by accident. Funny to think The Velvet Underground’s music was not that ‘original’ after all, since the psychedelic music scene in the America of the late 1960s was in a state of experimental flux, practically anything went. It was the ‘spirit’ behind it what made that music so ‘different’ just by ways of being utterly filthy and depressing, courtesy of Lou Reed, a degenerate Jew.
Young people are always attracted to ‘new’, ‘exciting’, ‘cool’ and ‘dangerous’ things, but what was the alternative to this subversion back in the 60s and 70s? So-called ‘Satanism’ and the occult? Christianity? A combination of both drugs and Christianity? Why does wikipedia state that Lou Reed’s Velvet Underground is ‘one of the most important and influential groups of their era and to many future genres’? Is this a way to consolidate their legacy as something that is going to be forever self-perpetuating as an intrinsic part of this current ‘pop culture’?
A few months ago I publish an article entitled The Need For A New Musical Movement in which I clearly stated why we need to create something for the future generations of white youngsters to feel identified with. A fresh ‘pop culture’ which glorifies our white values, not the other way round. What is really ‘cool’, ‘exciting’ and ‘dangerous’ these days for young people? That’s right – National Socialism. We must make sure we are the cultural vanguard now. As I said recently we don’t need ‘hedonism’ but ‘heathenism’, so let’s have something that the Jew cannot besmirch with his filth. Let’s have ‘National Socialist Rock’.
Next and last episode will be about the occult agenda in classic rock music.
– Lou Reed’s Stand for Israel and against Anti-Semitism by Tom Gross (October 28, 2013) National Review
– Lou Reed was on our side, Israel supporters say by Mondoweiss (October 29, 2013)
– Lou Reed’s paradoxical Jewishness by The Times of Israel (October 27, 2013)
– Dr. Hans Utter on Music, Mind Control and Weaponized Anthropology (youtube)
– Rock of the Illuminati; The Def Leppard Story (October 2012) Fitzpatrick Informer
– The Filth & The Fashion | Vivienne Westwood’s 70’s Sex Rag Revolution (October 7, 2010) The Selvedge Yard
– Sex & drugs & herring rolls: Punk’s Jewish roots revealed by Nick Hasted (Wednesday 26, 2014) Independent
– New World Order Occult Images in Contemporary Christian Music by David J. Stewart (September 2010)
– The Jewish Control Over the Entertainment Industries by Wes Penre (December 23, 2007) Illuminati News
– Kiss Lead Singer Gene Simmons Slams Israel Boycotters by The Associated Press (Mar 22, 2011) Haaretz
– Jew Dee Snider May No Longer Let Fuhrer Trump Use His Twisted Sister Song “We’re Not Gonna Take It” At His Rallies by Lee R (December 2015) Infostormer
– The Meaning of Malcolm McLaren by Charlie Bertsch (April 28, 2010) ZEEK
– Malcolm McLaren: Punk? it made my day by Nigel Farndale (Sept 30, 2007) The Telegraph
– Before Oi! there was Oy! Punk’s Jewish roots by Bonnie Rosenstock (Jan.2, 2007) The Villager
– Counter Jews (Lou Reed, McLaren & Other Punks Like Alan Vega Marty Rev From Suicide) by Pier Marton (Oct 29, 2013)
– Jewish Punks Embrace Nazi Rhetoric and Imagery by Michael Croland (May 14, 2008)
– Never mind the swastikas; the secret history of the UK’s ‘Punky Jews’ by Vivien Goldman (27 February 2014)
– Punk impresario Malcolm McLaren dies at 64 (Apr. 9, 2010) by The Jewish Journal
– Before Thatcher Came To Power, The UK Was Literally Covered In Gigantic Piles Of Garbage by Adam Taylor (April 8, 2013) Business Insider
– The Religious Affiliation of Grunge Rock Singer, Courtney Love (2014) by Adherents.com
– Courtney Love Enters the Tribe by Danielle Berrin (January 28, 2009) Hollywood Jew
– [Book] The Heebie-Jeebies at CBGB’s: A Secret History of Jewish Punk (2008) by Steven Lee Beeber
– ‘I was nervous about meeting Bob (Geldof)’: Meet pregnant Peaches’ charming rock’n’roll lover by Sharon (((Feinstein))) (Jan 29, 2012) Mail Online
– The Unbearable Heaviness of Jewish Self-Hatred by (((Walter Ruby))) (date 2000) CLAL The National Jewish Center for Learning and Leadership
– Joey Ramone Being Asked If He’s Jewish (1991) YouTube
– Blue Öyster Cult Explains the Umlaut by Michael Kaminer (April 17, 2013) Forward
– Nancy Spungen Wikipedia
– The Velvet Underground Wikipedia
– Mötley Crüe Wikipedia
Note: Some of the parenthesis in certain names have been intentionally added by the author.