FROM Christian Sheep and Satan’s Wolves by James Combs (New Christian Crusade Church, 1971):
The latest Jewish viciousness pawned off on Christians was glowingly described by Jewish TIME magazine (June 21, 1971). To degrade Christ, a vulgar “Jesus Revolution” has been energetically launched. One of the successful features of this blasphemy is the much-acclaimed stage drama Godspell. The Jew Stephen Nathan “stars” in it. The damning symbol of the “revolution” is pictured on page 61 of the TIME issue: a communist clenched -fist salute, with the forefinger pointing skyward !
If Christian belief in a hereafter can be destroyed and replaced with the Jew philosophy that you only have one life, and should make the most of it; then Jewry can tempt, with materialism and vice, weak men to yield to whatever Jewry desires. It is related in St. Matthew 23: 15 that Christ said to the Jews: “Woe unto you, scribes and Pharisees, hypocrites! for ye compass sea and land to make one proselyte, and when he is made, ye make him twofold more the child of hell than yourselves. ” How true this must be for all the ministers, businessmen, teachers and politicians who have played the Jewish “brotherhood” game and have sold out their white race, Christianity, and their nation!
Cultural Degeneracy Programs
To further soften up Traditional America, so that it will not have moral will to resist Jewish plans, including racial decay, Jewry has instituted many “programs” of a cultural -distorting nature.
Music
At least since the early 1920’s, negro music has been the basis for American musical “culture. ” To point this up, an article in the MEMPHIS COMMERCIAL APPEAL (January 27, 1971) gave some revealing information. Public school music teachers were encouraged or forced to attend a program in Memphis, Tennessee, which aimed at giving blacks their “proper recognition” in history. Black songs from Africa were sung (“e je ko node ko na o”), and black “instruments” were studied. A white degenerate, believed gentile, and a black, both on federal funds, directed the affair. They told their audience, “…textbooks lie about the Negro’s roles in history, also that credit for inspiring the blues, acid rock and cool jazz has been denied the Negroes. ” This sickening display of ill-used tax-payers’ money is noteworthy only to the extent that it indicates Negroes should be given credit for “inspiring” degraded “music” into Traditional America.
Jazz was originally a negro slang-word for sexual intercourse. So-called jazz music, in the early stages, started out with a fair amount of decency. Jews such as George Gershwin, in the late 20’s and the 30’s, translated these negro sounds into a “classical” framework. Though the music was fairly decent in sound, then, it WAS still radical for the time. Possibly, if it had been too indecent and radical, the thfen Traditional American public would have rejected it. But “gradualism” – as in so much else – was the Jewish method of starting white Christians toward full cultural degeneracy.
Traditional American youngsters of those 20’s and 30’s were becoming, with the help of such music, uninhibited and “liberated. ” By the 1940’s, “hot” music was giving “cool” music a real challenge. Later, the much Jewish-publicized Elvis Presley came on the scene in the early 1950’s. He brought with him “talents” acquired from negro Beale Street in* Memphis, Tennessee. “Rhythm Blues” was the basis for his hip-shaking music. Also, Presley made long sideburns “popular, ” which, previously in modern times, better class white Christians had shunned. The Presley sounds accented a “new” music which Jew Alan Freed, a disc jockey, made famous. A Steven Levine article in the MEMPHIS COMMERCIAL APPEAL for April 29, 1970, said: “…(Freed) popularized the black style of rhythm and blues, which would later become the white style of rock and roll, and” – added Jew syndicated columnist Levine – “with young white people turning black. “
The Presley music sounds crossed the waters and became a rage in Britain. A lower-class (predominently) gentile group, one of many such “musical” teams, became probably the very symbol of an extension of what Presley and the Rhythm Blues had started: the Beatles came on the world stage, thanks to Jewry. As NEWSWEEK magazine stated (January 18, 1971, page 51), Jews Allen Klein and Phil Spector managed and produced the Beatles. The magazine further noted that Jew Brian Epstein (a drug addict and homosexual) “discovered” the Beatles.
The Beatles began in a “clean-cut” fashion, but soon they went further (via “gradualism”) than Presley. Whereas his hair was THEN lengthy only in the temple area, the Beatles started the girl-like long-hair fad. Soon, though, as the present memoirs of the Beatles testify, the group declined into great sexual and drug excesses; their long hair grew longer, and their once -shaven faces became covered with beard. The Jewish communications media played them up with great exposure. A gigantic number of impressionable young (and many pathetic adults) got the Beatle craze – girlish lengths of hair, insinuating “messages” in their songs, and all!
Rock Festivals
The greatest depth to which the young people were dropped, due to this primitive “music, ” came with the “rock festivals. ” The first one was at Woodstock, New York.The Jew Lang dreamed it up. . . and three other Jews – John Roberts, Artie Kornfeld and Joel Rosenman – were co-sponsors of the abomination (THE NEW YORK TIMES magazine, September 7, 1969). Other Jews jumped into this money-making and degenerating technique and produced other “festivals. ” There were Steve Kapelow’s (Byron, Georgia) “International Pop Festival, ” Louis and Herman Zemel’s (Middlefield, Connecticut) “Powder Ridge Festival, ” etc. – where drug abuse, open sexual relations, foul language, and general depravity prevailed.
Jewry does all it can to encourage the’ young, actively, into this musical atrocity. Jew David Rubinson, parter of Jew Bill Graham and Brian Rohan in the Fillmore Corporation, runs free “rock seminars” in San Francisco, “. . .to train young musicians, engineers’, producers, managers, etc.” (ESQUIRE magazine, October, 1970.)
The Jew Bill Graham (Wolfgang Grajonca) is the “number one Producer and Promoter of the ‘new sound'” (TIME magazine, September 19, 1969) , and is, “…the heaviest promoter of rock concerts on the whole earth – the Antichrist of the underground” (ESQUIRE magazine, October, 1970) .
The same issue of ESQUIRE tells us that articles by Jew Richard Goldstein in the Sunday NEW YORK TIMES, “…have gone a long way toward making rock respectable. “
As a note on degenerate Jewish stage musicals, stressing the “new sounds, ” the musical HAIR was highly influential on white Christians. This combination of hippie culture, revolution and rock music was produced by Jew Joseph Papirofsky (“Joseph Papp”), a Fifth Amendment taker before the House Committee on Un-American Activities in 1958. Nat Shapiro was the agent, and a fellow Jew, Gerald Freedman, was the director – and the authors were Gerome Ragni and James Rado. Papirofsky and Bernard Gersten later produced another disgusting show called MOD DONNA which is striving to even out-influence HAIR!
These Jewish agents of degeneracy, often by exploiting the worst elements of gentiles, could be classified under the “criminal” category of Jewish tools of conquest. Though Communism is steeped in promoting primitive “music” and consequential cultural decay, it is utterly criminal in nature! Liberalism, another of the four tools, has smiled dotingly on the whole affair and done whatever it could to encourage and support it.
Communism has played a big part in distorting our culture. Hans Eisler, the high-ranked Jew communist, is considered the “father” of Communism’s perverted use of music to foster its (Jewry’s) ends. Jews such as Irwin Silber, Executive Director of “People’s Songs, ” music section of the Communist Party, have no reason to feel ashamed of their labors to make Traditional America decadent.
[cont., p. 75]
