Saturday, October 03, 2015

Jewish Music Dying Globally




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 succumb.

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 West.”

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.

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