Hello, and welcome back to another edition of American Dissident Voices, the Internet radio program of North America's foremost racialist organization, the National Alliance. I'm your host and the Chairman of the Alliance, Erich Gliebe.
This week, let's take a look back at the rise and fall of rock and roll music and draw some political and social generalities from that history. Please note that this is only a thumbnail sketch. As the 1940s ended, teenagers made up 33% of the record buying public. As the teen audience grew, independent record labels began challenging the big corporations such as Decca, Columbia, and RCA. Songs, not singers, were selling the records. Sometimes five or six artists would all cover one popular song, all competing for sales in record shops and on juke boxes. Unlike in the Sixties, few singers composed their own songs. Against this backdrop a new rebellious music grew, with influences from Folk and Blues. It was called Rock and Roll because the beat simulated the rock and roll of copulation. Consequently, some of the first rock and roll singers were Black artists such as Fats Domino, "Big Mama" Thornton, and Bo Diddley.
As Black-owned record companies grew in the Fifties, White-owned companies began covering the Black hits. White kids caught on to Rock and Roll, but only as sung by White artists such as Pat Boone. Then in the mid-Fifties came Elvis Presley. Elvis could move on stage, and he could sing. Girls began screaming at his performances as they had a decade or so earlier at Frank Sinatra concerts. But Elvis was not Sinatra. He was something such that White America had never seen or heard before.
Teenagers had a lot of money to spend in the Fifties, and the new music was their music. Yes, there really were malt shops and drug stores where young people met in the Fifties, not to mention an ever growing number of teen dances. Clothing companies, record companies, and movie studios took the pulse of teen America and gave this new demographic group what it wanted. The Brando look became popular, and it became cool for teens to be surly. Rock records, which were relatively inexpensive to make, flooded the airwaves, and movie companies played to the teen view of America with such films as I Was a Teenage Werewolf, Rock Around the Clock, The Cool and the Crazy, and Hot Rod Girl.
Following the Presley phenomenon, record companies simultaneously signed a number of White singers such as Fabian, Frankie Avalon, The Big Bopper, and Gene Vincent. A cut above them were Dion and the Belmonts, The Everly Brothers, and Buddy Holly and the Crickets. A cut above them were Jerry Lee Lewis, Bobby Darin, and Del Shannon.
All the while, Black record companies were turning out classic Rock and Roll by such artists as Chuck Berry, Ray Charles, The Platters, The Coasters, and The Drifters. Increasingly, these artists were being signed by White record companies eager to cash in on the trend. The songs were mostly love songs. The beat might have concerned parents, but the lyrics were usually bland.
Then on February 2, 1959, the music died. Buddy Holly, The Big Bopper, and Ritchie Valens died in a plane crash after giving a concert in Green Bay, Wisconsin. Later, Don McLean would memorialize the day in his song "American Pie." While Fifties style Rock did not actually die that day, the date is close enough to put on the tombstone because within a year America saw the advent of arguably the first youth counter culture to change the music scene. It was the surfing culture that rode the wave of the California sound. Soon American youth listened to such groups as the Beach Boys, the Ventures, and Jan and Dean, and dreamed of walking the sandy beach under the stars with a summertime lover. American International Pictures exploited the trend with a number of beach party movies filled with surfing rock and gyrating bikini-clad girls.
In 1963, the Beatles were the vanguard of the British Invasion. Suddenly, long hair was in and the crew cuts of the Fifties were out. On the heels of the Beatles came The Rolling Stones, Peter and Gordon, The Kinks, Herman's Hermits, The Animals, and many others. In 1964, Black Rock and Roll, which had slipped in sales, made a strong comeback when Motown Records in Detroit produced big hits with The Supremes, Smokey Robinson and the Miracles, the Temptations, and Mary Wells. Interestingly, White kids began buying records by Black artists in droves, but Black kids shied away from the California sound and the British invasion. Even today, White kids - with Jewish help - are drawn to Black music while Blacks are not drawn to White music.
In the mid-Sixties, as the Vietnam War and civil rights agitation heated up, Bob Dylan, born Jewish as Robert Allen Zimmerman, broke from his folk roots and made music of a very unique nature. The record industry called it folk rock. It was rough, biting, often topical, and sometimes poetic and surreal.
At the same time, LSD hit the streets and marijuana, once the drug of choice among Black musicians, made it into colleges and White high schools. California became a hippie haven and the streets of America's major cities became the scene of race riots. The combination of so much change so fast led to an unprecedented decade of musical creativity and innovation, not to mention cultural chaos. Unless in a coma, any teenager living between 1963 and 1973 experienced a time unlike any other before or since.
As a vehicle of the counter culture, Rock is said to have hit its peak between 1967 and 1973, times marked by a youth culture's protests against their parents' values and against a war in Southeast Asia that nobody quite understood, especially the kids fighting it. Anyway, America experienced a generation gap that had widened since the 1950s. Parents objected to what the kids bought, how they dressed, and what they said. The kids turned to the only people who understood them -- each other.
The penultimate major event of the Sixties youth movement was the Woodstock Music Festival of 1969. The event that ended the Sixties youth movement was the election of Richard Nixon for his second term as United States President. Nixon led a national backlash against youthful violence, drugs, and what 'the silent majority' considered to be youthful anti-Americanism. Nixon defeated ultra-liberal Senator George McGovern in 1972 and crushed the hopes of the young for some magical Age of Aquarius. He then defanged the anti-war movement by abolishing the draft and establishing a lottery.
Along with everybody else in the entertainment industry, astute Jews recognized that Rock music had formed the glue holding together the powerful youth counterculture of the Sixties. In other words, music could help shape the values and thinking of a generation. That particular part of the Rock era had happened from the bottom up. The Jews would see that it would happen next from the top down. In other words they would produce music capable of shaping the thinking of disaffected White youth and angry Black youth. From behind the scenes, Jews would use White and Black "artists" to shape their peers' perception of reality.
Under Jewish control, Rock music devolved. Disco, the first new trend, devolved from Black soul music of the Sixties. Its theme and its form was sex. The music would rise, peak, and climax, something gays and Blacks found particularly inviting. After all, the Seventies was a decade of free sex, of sex without apparent consequences. Some of the trends that followed were funk and gangsta rap, most of which was about as creative and wholesome as it sounds.
Now, in the 21st Century, Country music appears to be the most popular musical form in America. No longer the often hayseed country music of the past, the new country music is populated by good looking country boys with gravel voices and plenty of sex appeal, and by lovely strong girls with a vulnerable side.
Many people see Country music as a welcome antidote to the degeneracy often advocated and celebrated in today's Rock music. Country music is very patriotic, and very respectful of the working class people that Country music portrays as the backbone of America. Country music is usually quite simple and straightforward. No, this is simple music for simple people. I don't think the Jews control Nashville yet, but they certainly control the rest of the music industry. In fact, due to the growth of Country music, it will probably be the Jews' next target for takeover.
Please note that many Jews have been fighting a battle since the Sixties to retain their own insular culture by fighting interracial marriage among Jews and by not buying Rock or Country music for their kids. Jews promote classical music in their own communities. They also promote the reading of good books and the appreciation of higher culture in general. At the same time, White kids flock to morally polluting Black music and dress in the latest Black fashions. In other words, the Jews are shaping the values of White children in some very disagreeable and dangerous ways. Ironically, the very conservative values that Jews fight to retain in their own homes and communities are increasingly falling under attack by growing numbers of secularized Jews who have fallen under the spell of the very values the Jews are promoting for the cultural pollution of Whites. They have created a monster that's out-of-control. Perhaps there is some justice in that. Anyway, people who want to preserve strong American values of race, self-reliance, intellectual growth, and ultimately survival realize that we must take action to counteract the cultural brainwashing of our youth by the Jews. That is why National Alliance owns and operates Resistance Records.
National Alliance founder Dr. William Pierce hated Rock music; he detested the sound of it. However, he realized that two or three generations had been raised on it, and that if we were to reach our youth, we needed to go to where they were at, and not where we'd like them to be. Dr. Pierce realized that we'd be unable to reach today's youth with Bach and Beethoven, but with bands on the Resistance label such as the Angry Aryans, Bound For Glory, and Max Resist.
A few people have suggested to me that perhaps the National Alliance should distance themselves from Resistance Records and the whole Racialist Rock scene. Well, resistance music is a powerful tool that has the potential to reach tens of millions of White youth in a way that neither books nor speeches can. I can go somewhere and give a talk and perhaps 50-100 people will hear me speak, and it ends there. However, Resistance Records can produce an album that can be pressed and distributed and played over and over by a limitless number of our youth, with a positive, pro-White message being driven home.
Music has the ability to appeal to the emotions like no other art form. It can reach into a person's soul; it can touch their race soul. The National Alliance and Resistance Records will continue to use racialist music as a vehicle to reach our youth. I feel its potential hasn't even scratched the surface yet. And as stated earlier, we need to go to where our youth currently are, and not to where we hope to find them.
And of course, resistance music has the ability to evolve. Just as Country music is rapidly gaining in popularity, we really need to explore that genre with our pro-White message. The time could never be riper. Many Whites have gravitated naturally toward Country music, because they've been driven away by the rap and R&B music that the mainstream music industry is trying to shove down everyone's throat.
By now, many of you may have heard about the ugly incident at a recent video awards ceremony, where thuggish Black hip-hop "artist' Kanye West rudely jumped on stage and ripped the microphone out of the hands of beautiful 19-year-old Country singer Taylor Swift. It was a classic example of two distinctly different cultures and races clashing, and why multiracialism does not work. Kanye's actions were witnessed either live, on YouTube, or from news clips by millions of Whites, knocking many of them off the fence and into our camp. The Black rapper represents everything that is alien to our race soul. And that type of behavior is exactly why the Jewish plans to destroy our race will fail.
Sure, the Jewish race-mixing propaganda will affect a small minority of our gene pool, such as the racially-debased Heidi Klums and Madonnas of the world, but it will not penetrate the race soul of the overwhelming majority of our people. We will secure a future for our people, but only, and I stress ONLY, if we work hard enough for it.
And if we have any young musicians listening out there, I highly recommend exploring the Country music genre. It's a nearly all-White audience, it's growing, and it's ripe.
I'm Erich Gliebe, and thanks for being with me again today.