Before the 1950s no one had heard of, let alone experienced, the Teenage Rebellion. The word “teenager” came to prominence around 1955 with the emergence of an Integrated Doo Wop (rhythm and blues) group called The Teenagers (later changed to Frankie Lymon & the Teenagers). The group consisted of two blacks, two Hispanics, and one white, with Negro Frankie Lymon as lead singer. The group sprung to prominence in January 1956 with the hit single “Why Do Fools Fall in Love.”
The Teenagers got signed up by the Jew George Goldner’s Gee Records (Goldner’s gambling habit would lead to him selling part or all of his record company to Morris Levy). Another Jew (in fact, half Lithuanian Jew), Alan Freed, was the DJ who presented The Teenagers to international audiences.
Albert James “Alan” Freed (December 15, 1921 – January 20, 1965), also known as Moondog, was an American disc-jockey who became internationally known for promoting African-American rhythm and blues music on WJW (850 kc AM) radio (“general market”) station under the name of Rock ‘n’ Roll. Freed was credited with coining the phrase Rock ‘n’ Roll at Leo Mintz’s Record Rendezvous store in Cleveland, 1951. Though reported in the Cleveland Jewish News April 4, 1986, it was Leo Mintz who actually came up with the idea.
One night while Freed was excitedly doing his act and urging a singer on to greater efforts in a rendition of “Roll With Me, Henry” he turned to Mintz and said, “Leo, this music is so exciting, we’ve got to call it something. “ Leo said, “Allen, you are rolling tonight…you’re rocking and rolling…call it ‘Rock and Roll.’”
It was Leo Mintz who then persuaded Freed to play more rhythm and blues (race music as it was known then) on his radio station (a white one) to make it more acceptable to white listeners, and also help in the sale of records from Mintz’s Record Rendezvous store (Mintz supplied Freed with data on what records to play, and which ones to drop. Also, Record Rendezvous was a major sponsor of Freed’s radio station).
Rhythm and Blues was now given the new name of Rock ‘n’ Roll to fool white music listeners they were not listening to black music (race music). What is ironic is that the term Freed was using to make rhythm and blues more acceptable to a white audience was slang for sex in the black community!
At the time Black radio stations got called black – format stations and white ones were “general market” stations, and a strict apartheid system prevailed; until Freed and Mintz came along, that is. And these two Jews, Mintz and Freed, were the architects of breaking the barriers down with Rock ‘n’ Roll.
So there you have the origins of Rock ‘n’ Roll and its racially destructive aims. Once these two Jews had broken down the racial barriers of black and white music, it was time for their racial brethren in the film industry to create chaos among school kids and young people in general with the new Rock ‘n’ Roll of Freed and Mintz.
In April 1954, Milton Gabler, a Jew, from Harlem, New York, signed Bill Haley and the Comets (an American rock and roll band founded in 1952 and which continued until Haley’s death in 1981) to Decca Records. On April 12, 1954, Bill Haley and the Comets recorded at the Pythian Temple studios in New York, “Rock Around the Clock.” It was then released to the public on May 20, 1954. This was by no means the first so-called Rock ‘n’ Roll song, but it was the song that put Rock ‘n’ Roll on the world stage. This song was written by another Jew, Max C. Freedman. Now, what was so strange about Rock ‘n’ Roll now appearing at dance halls and on radio stations was its immediate attraction to the young and not the old. But when one examines the lyrics of Rock Around the Clock it becomes quite clear why this was so:
Rock Around The Clock
One, two, three o’clock, four o’clock, rock,
Five, six, seven o’clock, eight o’clock, rock,
Nine, ten, eleven o’clock, twelve o’clock, rock,
We’re gonna rock around the clock tonight.
Put your glad rags on and join me, hon,
We’ll have some fun when the clock strikes one,
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the clock strikes two, three and four,
If the band slows down we’ll yell for more,
we’re gonna rock around the clock tonight,
we’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the chimes ring five, six and seven,
We’ll be right in seventh heaven.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When it’s eight, nine, ten, eleven too,
I’ll be goin’ strong and so will you.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the clock strikes twelve, we’ll cool off then,
Start a rockin’ round the clock again.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight
Yes, they are lyrics a ten-year old child could have written for a kindergarten party. But more dangerous than that for young teenagers (as they were now being called) is the trivial pursuit of dancing being paramount throughout the song. Why would anyone need to dance for such a long duration? Even though no one would dance for so long, the song stresses that dancing is so important and surpasses anything else one would need to do when running their daily lives. And it doesn’t take a genius to see who this music was aimed at. Not content with childish, immature lyrics to Rock ‘n’ Roll, crazy wild dancing also accompanied it. Whereas dancing prior to the Second World War was ordered and disciplined, this new dancing to Rock ‘n’ Roll was chaotic and wild.
Bill Haley’s “Rock Around the Clock” got its first major breakthrough when it featured as the soundtrack theme to the film Blackboard Jungle (released March 19, 1955). Blackboard Jungle was directed and produced by two Jews: Richard Brooks (real name Rubin Sax) and Pandro S. Berman.
http://www.youtube.com/watch?v=GW1_A9-kBNw&feature=player_embedded
http://www.youtube.com/watch?v=GW1_A9-kBNw&feature=player_embedded
Blackboard Jungle is about war veteran Richard Dadier (Glenn Ford) who wants to begin his career as a teacher and was given an assignment at a boy’s high school in inner-city New York. However, he soon discovers the school is overrun by delinquents, led by Artie West (Vic Morrow), an insolent hood who likes to call Richard “Mr. Daddy-O.” Artie and his gang steal, destroy property, refuse to respect authority and threaten the female teachers with rape. While most of the faculty have given up and meekly let the delinquents do what they want, Dadier is determined to bring order back to his classroom, even after Artie’s thugs threaten Richard’s pregnant wife. Blackboard Jungle was the first major studio film to use Rock & Roll on the soundtrack; the film’s success kick-started sales of “Rock Around the Clock.”
“Rock Around the Clock” would reach number one on the Billboard charts where it would stay for eight weeks and sell millions of copies. This was arguably the Big Bang for the emergence of Rock and Roll. After this climactic moment, Rock and Roll became the dominant musical genre in the US. The music led to a huge teenage audience for the film: their exuberance sometimes overflowed into violence and vandalism at screenings.
So by merging a fictional story of juvenile violence at an inner city school with a Rock and Roll song that sang about dancing till your heart’s content, the culture distorters had kids across America rebelling against discipline and order and causing chaos in American schools. Literally overnight, kids went from law-abiding to law-breaking, and schools went from places of learning to dens of anarchy. The kids now identified Rock and Roll with rebellion and violence.
Thus was born the Teenage Rebellion — conceived, gestated, and delivered by the same people who gave us the so-called Russian Revolution and virtually every other revolution, rebellion, and form of subversion of the nineteenth and twentieth centuries.
17 Comments
Indeed, the last paragraph is of course true, but where were the whites? Why did they fail to protect their children? The phenomenon of seductive music was not unknown — e.g., the Sirens in Greek mythology and many many other examples.
It’s marketing. Instead of being aimed at the family as a whole, now the family has been segregated by age with one group (young) targeted for this particular propaganda/advertising. Others will be aimed at women, elders, young children, etc.
Now the marketer/propagandist has a direct relationship with all the various family members separately and encouraging divergence of values in the family helps sharpen and define your target audience. In some cases, anti-family messages are overt, such as one commercial for children that basically told the kids to “scream until mommy buys you our product.” “Teenage rebellion” is the perfect example, it’s “rebel against your uncool parents by buying our product.” They don’t call it targeted</em advertising to a target audience for nothing.
Money may be the first concern, but other agendas are there as well, and the segregation of families into demographic audiences is itself an agenda, one that many would agree is harmful. This is one of the worst effects of mass media. Are there any current TV shows that appeal to (and is appropriate for) an entire family from grandparents to grandchildren?
TOQ editors: more Joe Owens please!
Quite a well-written concise recap of the origins of teenage defiance and the musical genre that presupposed it. Almost makes me feel guilty that I enjoy the tunes of Zeppelin, the Who, and all the rest.
Oh, so true. And so well elucidated, Joe.
The promotion of schisims and conflicts within White societies, be they between the classes, sexes or generations, is the age old modus operandi of the jews. Divide and rule, being the recipe for conquest.
A healthy White nation is an organic whole, exemplified by National Socialist Germany. And that is what organized jewry fears most of all.
There have been Jews who have not liked Rock and Roll, and have critiqued it heavily. For example, Allan Bloom in The Closing of the American Mind. Naturally, he draws links to Nazism in Rock’s fanaticism and obscurantism, but even so it is a very powerful critique.
‘ where were the whites? Why did they fail to protect their children?’
While rock-and-roll had a spectacular effect, it was like the final stroke of an axe hewing through a tree that had already been weakened by previous cuts.
Whites tend to generate indigenous “cultures of critique” even without foreign influence. This self-critical tendency, like pale skin, can be a boon or a bane.
White culture had been prepared for destruction by generations of undermining. Glubb wrote that empires live 250 years. The high point of America might have been the era of Carnegie, Ford, and Edison. The Spanish-American War might have been the beginning of decline; the Federal Reserve System was a mortal wound. After the Fed got its death-grip on America, Hollywood, jazz, and consumeristic materialism hammered away for decades. Finally, World War II erected the nation-state as an idol, and the Gramscians were advancing through the institutions.
So, by 1945, the USA was truly prepared to host a galloping parasitic degeneracy. Rock and roll was one of the pathogens, but even if rock and roll had been prevented, the saboteurs had many means.
My take is that ‘Rock and Roll’ music sprang largely from the invention of the electric guitar. In any case, arguing about music is the last thing a movement which needs to be fired by unity and loyalty should be doing. Although personallyI agree with Mick Jagger .. “It’s only rock and roll but I like it…”
My take is that ‘Rock and Roll’ music sprang largely from the invention of the electric guitar. In any case, arguing about music is the last thing a movement which needs to be fired by unity and loyalty should be doing. Although personally I agree with Mick Jagger .. “It’s only rock and roll but I like it…”
No, you are wrong. This music is feminising our youth with silly lyrics about losing one’s baby, sugar, honey or angel. Axle Rose (Guns & Roses) is notorious for singing feminised songs of this nature. In fact, look at the feminised stance of Robert Plant when singing most Led Zep songs. Also, this unnatural sound was created by Phil Spector and Harry Levine’s Wall of Sound. Our enemies know the damage it has done to OUR young and this is why they continue it.
Paul Cantor of the “Jefferson Airplane” said on the Les Crane Show, “The new rock music is intended to broaden the generation gap, alienate parents from their children, and prepare young people for revolution.”
The real aim of modern music (in all its forms) is to destroy the Male “SUPEREGO.” George Lincoln Rockwell explains this in an old article of the 1960’s he wrote. Though not mentioning the SUPEREGO it is this I now believe he means.
To destroy the SUPEREGO the JEWS first needed to create a gap between young and old. Once they achieved this the SUPEREGO (which is passed down from father to son) was attacked by feminised singers and lyrics. Infact, the music from that day on fuelled the id (pleasure principle) and not the EGO (reality principle). Children were no longer listening to their parents, but instead to defective “artists” and lyrics that were destructive to behavioral development. Freudian Psychoanalysis is being used to destroy OUR people via modern music.
AMERICANA
The “BEATLES”; A GLASS EGG to fill a Jew-created VACUUM!
When I was a kid, they use to put phony, glass eggs under hens to give them “ideas.”
Now the liberals and Jews are doing the same thing to our kids to give them BAD ideas.
As I write this, the “Beatles” have arrived. Our teenagers are mobbing them with hero worship.
Most intelligent people look on with horror and disgust. That’s one thing wrong with intelligent people. The reason for the kids’ wild carrying on is their need for heroes.
But there is a reason for the wild carrying on of the kids. The Jews know what it is, and very brilliantly cater to it. Our few, non-Jewish leaders have no idea what it is, and leave a huge vacuum in the lives of our teenagers.
That vacuum is the need for heroes.
Kids’ need “heroes”. They must have them to grow emotionally and spiritually.
The heroes used to be Sam Houston, Daniel Boone, Tom Mix, Gen. MacArthur, etc.
But the Jews want our people EMASCULATED, weak, feeble AND COW-LIKE.
So they have tried to make us ashamed of “violence”, gun fighters, war heroes, etc.
Instead of these eternal hero-types for all kids in all times, the Jews have set up Ralph Bunche, Sammy Davis, Jr., Lenny Bruce, etc., as our “heroes”.
But these gents don’t have the emotional wallop to reach the kids.
So the Jews promote more and more pansified SINGERS and HIP-WRIGGLERS for the kids’ to worship. And it works with millions and millions of helpless little kids.
. . .
Kids need HEROES. When you deflate real heroes and punish the kids for worshiping them, the hero worship turns to anything else it can find. There is a vacuum. So the Jews fill the vacuum with the “Beatles”–or “Chubby Checkers.”
That’s why our kids grovel at the feet of scum.
The Rockwell Report
Vol. 3 No. 9 February 15, 1964
Though the mainstreaming of rock and roll by the jews, may have started out as an attempt to subvert White youth via negro music; by the mid sixties, it had morphed into something quite different…..”rock”, which became an exclusively White domain. Blacks neither played or listened to it, so the emphasis shifted from the music itself, to the glamourised lifestyle that went with it……drugs and sex. And that is where we remain, to this day. Rock music is not bad, per se, just the decadence that invariably accompanies its practitioners.
Michael Bell “I enjoy the tunes of Zeppelin, the Who, and all the rest.”
So do I. I wonder if the first time we heard a band like Zeppelin or the Who it was a live band at the local bar, instead of on the radio or from someone’s record they bought at the record store?
White communities used to make their own music, then radio and tv were invented, and our music was broadcast to us from southern California. This is a material change.
Wasn’t it John Lennon who said that rock and roll is whatever you want it to be? Massive amounts of music have been put out under the category of “Rock and Roll” with many different artists and many different sounds – much of it schlock, but some of it art, IMO. Led Zeppelin was mentioned – 90% of what they put out I wouldn’t care to listen to but 3 or 4 of their songs I like. That’s all it takes for a band to redeem itself in my eyes. People won’t appreciate it if you tell them the music they like is crap – they might appreciate it if you introduce them to something better that they haven’t heard before. In any case, my point is that white nationalism shouldn’t be like the Taliban in telling people what music they should like. Growing in numbers is the most urgent thing for WN – dumping en masse on the most popular music out there won’t help much in that cause.
How in the world Nationalists enjoy this counter – culture drivel is beyond me. Most songs they sing are meaningless pieces of garbage about their own defective lives. Also, why all the silly names of these rock/pop bands? All this music does is fuel the id (innate drives).
Led Zeppelin
Black Dog lyrics
Hey, hey, mama, said the way you move,
Gonna make you sweat, gonna make you groove.
Ah, ah, child, way you shake that thing,
Gonna make you burn, gonna make you sting.
Hey, hey, baby, when you walk that way,
Watch your honey drip, can’t keep away.
Oh yeah, oh yeah, oh, oh, oh
Oh yeah, oh yeah, oh, oh, oh
I gotta walk, can’t stand still,
Got a flamin’ heart, can’t get my fill,
Eyes that shine burning red,
Dreams of you all through my head.
Ah ah ah ah ah ah ah ah ah ah ah ah ah…
Hey baby, oh baby, pretty baby,
Tell me would you do me now.
Hey baby, oh baby, pretty baby,
Move me while you groove me now
Take too long b’fore I found out
What people mean by down and out.
Spent my money, took my car,
Started tellin’ her friend she’ goin’ be a star.
I don’t know, but I’ve been told
A Big legged woman ain’t got no soul
Oh yeah, oh yeah, oh, oh, ah
Oh yeah, oh yeah, oh, oh, ah
All I ask for, All I pray,
Steady lonely woman gonna come my way.
Need a woman gonna hold my hand
tell me no lies, make me a happy man.
Ah ah ah ah ah ah ah ah ah ah ah ah ah…
Ahhhhhh!
Ooooh-ahhhh
A Sydney Rose Production. Yes, says it all.
The Who (yes, another silly band name), aided and abetted the teenage rebellion and culture destroyers. Groups like this had no idea of the real aims of Mr Sydney Rose and co.
http://www.youtube.com/watch?v=7xZOrWK6d4g
If some people want to spit their dummies out because I rightly point out the Jewish destructive origins of modern music, then we are living in sad times. It’s time people grew up and saw this garbage for what it is. Some groups may have individual songs of the non — destructive type but, one must look at the big picture and not individual songs. Modern music has our young following death metal, trash metal, industrial metal, hard rock, soft rock, punk rock and a hundred or so more sub — cultures all opposed to one another. Modern music (in all its forms) is inherently flawed with false charts that are destroying our people. Modern music is making our people weak, feminised and totally degenerate, just like our enemies want. The latest freak Lady Ga Ga (another silly name) is a living example on why this poison needs exposing.
The horror story below is just one consequence of The Teenage Rebellion. Once our enemies got the kids away from their fathers they then set about their continual attack via music, films and sub – cultures. This attack has been gradual and sustained to the point where only a total “Cultural Revolution” will stop it. From The Blackboard Jungle to The Warriors from the Sex Pistols to Marilyn Manson, The Teenage Rebellion against ORDER continues at a frightening pace. We can’t attack one aspect of this rebellion and pardon another, can we? No, it all must be exposed for the poison that it is.
The poison could never have gained the ground that it did had The Teenage Rebellion not been forced upon us. The Sexual Revolution could never have come about without Woodstock, could it? Young kids would never have been burning their draft cards at the height of the Vietnam War, had The Teenage Rebellion not come about. But the real aim of The Teenage Rebellion is to destroy the Male SUPEREGO, and fuel the id (innate drives) with garbage and filth in the form of rock music and rebellious/sick films. Rock music was just the first steps in creating the gap between young and old. Parents were powerless in the face of this onslaught back in the 1950’s, when all this came about. But our enemies were only softening up that generation for the next, sicker, dose of poison that was on it’s way. Music went from Bill Haley to Alice Cooper. It then jumped to sicker levels with the Beastie Boys and Punk Rock. It then produced freaks like Boy George and Sigue Sigue Sputnik. We now have oddities in the form Lady Ga Ga.
Nationalist can’t sit back and not speak out about the destructive nature of modern music in that it may offend some misguided people.
http://news.bbc.co.uk/2/hi/uk_news/england/south_yorkshire/8473978.stm
This will be my last post in explaining the damage of The Teenage Rebellion. I hope i’ve made things a lot clearer in pointing out some unknown facts.
The scene below shows people working directly from their id (innate drives). The banging into one another and uninhibited actions are satisfying the primitive desires held by the id (sex, violence etc). In order for humans to have a perfectly balanced personality that can enable a modern civilised society to function they must have the controls in place over the id. The controls are the Ego (Reality Principle) and the Superego (Behavioural lessons taught by ours parents with regards to social interaction and civilised behaviour). Both of these controls are developed within us as we mature, the id is the only one we are born with, as we are born primitive animals, the Ego and Superego require training. The development of Western Culture has only been possible by the development of these controls on our primitive urges. Freud spotted this and even stated it in his book “Civilisation and its Discontents”. While people may dismiss Freud as a neurotic cocaine addict, when you actually think about what he is saying in relation to this, you can see it is right. The Frankfurt School cottoned on to Freud’s chink in our armour, and are now using it against us.
http://www.youtube.com/watch?v=TSoIJilnUgg
All social behaviour is completely ignored in this clip and the wild id is unleashed uncontrolled. Over a period of time prolonged exposure to this sort of behaviour will untrain the Ego and Superego, leaving the individual to act off their id. This in turn leads to an unbalanced personality in the individual, but on a wider scale a society that is no longer able to act as a society.
Yes, there are no written rules of how to live in Western Society and interact with each other, no text books. This was always passed down from the parents (Superego) and this why the Frankfurt School set out to destroy the family unit.
Once the family unit had been destroyed by the Teenage Rebellion and the Feminist Movement, the TV and Music industries became the primary educators of our Youth. By pushing the degeneracy through these mediums, our enemy has destroyed the minds and personalities of people who have grew up in this era, right through to the modern day. I think it is repairable for those who are prepared to listen, but moving away from the degeneracy being pushed is a must if this is to be possible.
Here is a tragic example of what can happen when children are educated from the TV. Superheroes and other unnatural programmes attack our children’s Reality Principle which forms a major part of the Ego, which in turn acts as a control of the id.
http://www.tv.com/story/11008.html