And Rock And Roll
Mr. Yang in his above referenced article asks a very pertinent question. He asks
It was the early 1950s and America was changing. Who would serve as the vanguard of this change?
Put simplistically as the change was occurring on several levels. On one, WWII had stopped the old ways in their tracks. All was now passe as the upcoming generation sought its way through the turmoil toward a vision of itself. On another level the Jewish/Negro revolution shifted into high gear. Permanent warfare became the norm with a huge standing military force as the Free World confronted the Red Menace.
The question as Mr. Yang proposes it is who would direct traffic into the new millennium? He centers his argument on the cultural area of recorded music. His interpretation of the change was that only Jews could manage this difficult task. Indeed, in answer to his own question he states explicitly: You needed Jews.
Merely because the Jews hi-jacked the future isn’t to say they were needed. Mr. Yang and his editors may disagree but the Jews weren’t necessary at all. One can imagine several successful scenarios without them. Most likely more successful than that provided by the Jews. After all there are quite a few critics unhappy with the solution provided by the Jews myself included. Prior to Jewish intervention pornography was an illegal clandestine enterprise, today it is the centerpiece of our lives. Pornography is a reflection of mental disease. Need I say more.
The musical vehicle for the future was, as Mr. Yang correctly says, Rock and Roll. But did Rock and Roll have to develop in precisely the way it did? As Mr. Yang points out the Negro element of popular music gradually rose into cultural dominance. Was that inevitable or was that directed by a small group of people for their own purposes. Mr. Yang answers that question, he says: You needed Jews.
Indeed the history of Black music and musicians is their exploitation by Jews. Negro shouts and hollers would have gone nowhere without Jews like Leiber and Stoller to smooth out Negro inflections and provide words that sounded intelligent enough to connect with a White audience. Although Leiber and Stoller were so Black in outlook that Big Mama Thornton’s version of their shouter, Hound Dog, made to to R&B charts, which is to say nowhere- sold six records and disappeared, only when it was taken over by the premier White musician, Elvis Presley, and given new lyrics, the song became a No. 1 hit. Not that the old folks were happy about that. It was just a hillbilly novelty tune like Slow Poke in Elvis’ hands but that seemed to escape the wardens of popular culture.
So, who’s the vanguard here- Negroes, Jews, or Elvis Presley? I would think Elvis, wouldn’t you? The Blacks and Jews needed Elvis more than he needed them. I hope I won’t be thought blasphemous but I always thought those two stellar Leiber and Stoller songs, Hound Dog and Jail House Rock among the worst songs ever written and you can throw in I Want To Be Free too. I rather imagine Freddie Bell and his Bell Boys picked up the song for its ridiculous and comedic qualities. Must have put the Vegas oldtimers in stitches.
Would there have been an Elvis Presley without Jews? Is that even a legitimate question? Presley got where he was before Jews even knew he was there. I would post the question to Mr. Yang: Did we really need Jews? And if so, for what?