by Bill White
The world has finally had its
fill of Jewish-produced music.
The International Federation
of the Photographic Industry announced in March that digital sales of online
music, at $6.9 billion last year, finally exceeded sales of physical CDs, at
$6.8 billion. Less prominently highlighted in the report is that global sales
of music by the Federation’s members fell from $21 billion in 2004 to $13.7
billion in 2014, a 34 percent decline over the decade.
The IFPI represents the
Jewish-dominated segments of the global recording industry, part of the same
Zionist cartel which contains most American radio stations and the American
media in general. Its figures show how the internet and exposure to national
cultures and media has dismantled yet another segment of a cultural control
mechanism that Zionist Jews once dominated.
As early as the 1920s, Henry
Ford’s Dearborn Independent raised
concerns about Jewish domination of Tin Pan Alley, the Jewish musical-lyrics
workshops where low-brow songs were cranked out for mass consumption. In the
1930s, the Jews used devaluations of major media companies to gain control of
newspapers and to begin promoting into the mainstream music they were producing
for negroes, like jazz. With the development of radio and the widespread
distribution of record players and juke boxes, the Jews partnered with
organized crime to control what music America consumed. The Jews also by this time controlled Hollywood and the American film industry. From here, control of
television was inevitable.
Once the Jews had total
control of all American information systems, they began to transform the
American culture, while also taking control of the political system. Weak men
who did the Jews’ bidding were promoted to positions of power, while good men
were defamed. The Jews set the boundaries for American political debate,
driving those they disliked out after branding them “extremists” and “cranks.”
Jewish Communists took over both the Republican and Democratic parties, and a
genocidal pogrom against White working people began.
In the 1950s, 60s, and 70s,
negro and Jewish musical acts and forms of music came to dominance. In the
1980s, pushed rap and hip-hop music on American culture, making idols out of
black criminals. Simultaneously, the Jews encouraged drug abuse, suicide, and
the worship of their god, Satan, through “White” musical culture, particularly
heavy metal. Supposedly “extreme” bands all united in demanding
multi-culturalism, anti-racism, and hatred for White social institutions.
By 1995, internet technology
developed to the point where Jews became concerned about opposing dialogues.
Jewish control over both news and mass media began to slip. In that decade,
beginning with the Waco and Ruby Ridge massacres, and continuing with the
FBI-assisted bombing of the Oklahoma City federal building, the Jews began to target and arrest political
dissidents. Aided by alternative media, liberated by the internet, White
Nationalist groups experienced explosive growth, while White music companies
like Resistance Records and Panzerfaust generated millions in sales. But
beginning in 2001, the FBI acting under Jewish direction launched a campaign to
decapitate all White organizations by jailing their leadership. White groups and
music companies were forcibly disbanded.
However, all the violence of
federal law enforcement has failed to make Americans continue to consume Jewish
media. Most local Jewish-owned newspapers have seen their reader base fall by
half or more. “Cord-cutters” have begun to turn off Jewish-produced television
shows. Jews like Mark Zuckerberg struggle to suppress independent thought
online and in social media. And now the Jewish music industry has started to
Digital music sales have not
compensated for the 70 percent decline in physical music sales. But worse still,
streaming music services now provide 32 percent of online music revenue, while sales
of music online fell 8 percent. Free to users streaming services are now 9 percent digital
revenue. This is significant because streaming music services essentially
replace radio, not physical music sales. Without this revenue, the Jewish music
industry has seen a 45 percent decline in consumption, comparable to Jewish failures
in newspapers, television, and elsewhere.
While American internal
security forces have suppressed much of the domestic alternative media, they
have struggled with state-sponsored competitors, particularly in Russia and Iran. Both Russia and Iran use their English-language media to promote American
political dissidents. In April, the House Foreign Affairs Committee held
hearings in which they denounced Russian television channel RT, with 600
million viewers globally, for promoting what Congressman Ed Royce (R-CA) called
“conspiracy cranks, Holocaust deniers, and other discredited figures in the
For decades, the Jews and
their occult allies controlled the culture in such terms. With the failure of
their culture issues, they do so no more.