May 10th 2017
The 2003 film School of Rock symbolizes the story of Jewish Power in the United States, and its subversive and unidentified rise to prominence.
At the beginning, the protagonist played by Jack Black (Jewish) is the lead guitarist in a metal band. He’s clearly out of sync with the rest of the band, as portrayed by his over-the-top guitar solo and subsequent attempt to crowd surf. Indeed, the audience is not willing to support him and allows him to fall. Since he is not the true leader of the band, he has no fan base and no indirect support from other members’ fans. His attempt to hijack the band’s sound, image and momentum seems to cause them to lose a potential connection and possible record deal.
We learn that he his living on the floor of his friend’s apartment. He not only doesn’t have a home of his own, but he doesn’t even have a proper room. Again, he’s out of sync with the other residents in the apartment (Ned and his girlfriend). We see that Ned is a clean-cut straight “goy”, and that his girlfriend is an unbelievably nagging Sarah Silverman. There is a significance to the casting of Silverman, being that she is a prominent Jewish activist and would normally seem somewhat out of place in this film. More on that later.
Jack Black is kicked out of his band and replaced. The verbal exchange in this scene is interesting and certainly plays into the notion of symbolizing Jews getting kicked out of a nation. The leader of the band says that one of the other members (named Theo no less) “voted you out too”. Some could interpret this to mean that perhaps Jack Black’s character symbolizes Lucifer in a way; kicked out of the Kingdom of Heaven by God. Returning to the Jewish comparison, it is notable that he refers to the leader’s lyrics being “lame”. One of the major stereotypes of Jews is that of a “high verbal IQ” and being adept at verbal skills. He also references putting the band together and how he shouldn’t be able to be kicked out. This could represent the notion that Judaism preceded Christianity, and that the latter would not exist without it. However, as seen throughout much of history, Jews and Judaism have been rejected by Christian nations. Of course, that changed post-WW2.
Next comes the first deception, or great lie: He happens to answer a call intended for his roommate (a substitute teacher) with a job offer. He acts as though he’s summoning Ned to the phone, only to act the part of Ned and accept the job. It’s remarkable that someone with seemingly no ambitions outside of Rock Stardom would think so quickly on his feet and execute such a scheme without warning. Just a hollywood plot device? Perhaps. But it also speaks to the nature of his character and of Jewish power; ready and able to seize opportunities that could not have been anticipated. An example arguably being the cultural revolution of the 1960s in America, and the seizure of the major media and academic institutions (like the “School of Rock”) with liberalism, egalitarianism and cultural marxism. The youth of the 60’s wanted to rebel against the establishment, but in doing so allowed for a new establishment to take root. It has since dictated the American cultural climate.
Jack exhibits a complete disinterest in the role of a substitute, and fails to make even the slightest attempt at assimilating into the new environment (with the exception of his appearance). He clashes with the teacher’s pet very early on, as she gets frustrated that there is no clear way to win his approval (as she had before). The exchanges that occur between the two are reminiscent of the early exchange with Silverman. This may be no coincidence, as both characters prove to be important forces in the plot and for Jack’s plan. His disinterest suddenly changes when he observes the class during their music class, when he immediately gets an idea: forming a new band. Again, it is somewhat remarkable that he’d so quickly capitalize on an unexpected opportunity, given his lack of life success thus far. Yes, it serves the plot’s efficiency well. It also serves to illustrate the story of the Jews’ success within American economic system, despite coming from poor ghettos in Russia and Europe. Of course, other groups have succeeded to an extend, but they do not have dominant control over various institutions like Jews. They did not create these things, but quitely found ways to overtake them. Similarly, these are not his children, but he is ultimately able to control them to his end via Rock n’ Roll. He even references them as “minds for molding” upon arriving at the school, which is very telling. In School of Rock, Rock n’ Roll represents the alluring indoctrination that has defined American values over the last half century. It’s imperative that Jack “teach” it to the young students, who will not have another belief system to compare it to. Likewise, America can be seen as a “young” nation whose population will be susceptible to a new indoctrination (liberalism, cultural marxism, white guilt, etc.). Jack seizes the opportunity gloriously.
The first song that Jack presents to his new band is about him being kicked out of his other band. The lyrics mention “the legend of the rent”, which reminds us of “rent seeking”. It can be argued that Jack is rent seeking by ostensibly gaining control of part of an institution (the school), and will ultimately gain an advantage by payment from the children’s parents as they attend the School of Rock at the end. They are literally paying for their children’s counter-education. Back to the song – Jack is creating an anthem for the kids to sing that represents his struggle, not theirs. It parallels the enthusiastic support for Israel and against anti-semitism by Goys, despite having no actual vested interest. Why do these kids care if he got kicked out of a band? About rent? It is none of their concern.
The second song that the band rehearses is presented by Zach the lead guitar player. This character is rather Jew-looking, and becomes a favorite of Jack with whom he personally identifies. Zach’s song lyrics discuss being “stuck in a dumb daze” and “memorizing lies”, labeling Jack a “magic man” who says “two and two make five”. The last phrase is textbook re-education directly taken from Orwell’s 1984. In this case, it is clear that Jack is re-educating the children to believe in Rock n’ Roll – a degenerate lifestyle more or less. It would create cognitive dissonance with the work/reward believe system of the school, so Jack claims that there’s a scholarship reward involved in winning the battle of the bands. In the song, Jack makes but one edit to the lyrics – Zach writes in the chorus “Rock is the reason, Rock is the rhyme” (showing that he’s bought in), which Jack changes to “Rock got no reason, Rock got no rhyme”. It is a textbook example of “doublethink”, in which the two statements cannot both be true. It is interesting that Jack changes the lyrics without explanation, and that Zach unflinchingly accepts the edit. An example in our current society would be the long-held biblical teaching of the sin of homosexuality, and the somewhat recent teaching that it is not only normal but biologically-caused. It creates cognitive dissonance on a fundamental level, in that the respective sex organs of the genders would defy their biological purpose. Indeed, if Rock is the reason, then how can it have no reason? Such is never explained.
Then comes the task of getting the students out of the classroom for the battle of the bands audition. While speaking with some of the other teachers, Jack discovers that the principal (Joan Cusack) has an apparent weakness when alcohol is mixed with Stevie Nicks. Not surprisingly, Jack devises a plan to capitalize on this opportunity, without which nothing would have allowed the plot to continue. He manages to get the rather uptight principal to a local pub after school. He persuades her to drink a beer, and almost simultaneously plays “Seventeen” on the jukebox. Whilst she is under the spell of Nicks and booze, he casually suggests a field trip for the students. Without knowing any details, she agrees that it would be fine. The show goes on.
Again, many parallels can be drawn from this type of scheme. One that comes to mind is Henry Kissinger managing to get Saudi Arabia to participate in the Petrodollar system, which profoundly changed world economics. One wonders what would have occurred if an agreement had not been reached. Not surprisingly, Kissinger is Jewish.
Another interesting encounter occurs between Jack and the young black student. She expresses trepidation about singing due to her being overweight. Jack is able to connect with her via and example of Aretha Franklin’s success despite her weight, and of course his own. This brings to mind historic Jewish agitation of blacks in the U.S. during the 50’s and 60’s for “civil rights”, a la the work of Saul Alinsky. Jack encourages her to “take the stage”, despite him maintaining the reins of lead signer.
When the band arrives for their audition at the battle of the bands, they are prohibited from performing. Due to the age of the kids, the panel tells Jack that they can’t audition. He lashes out in anger, which seems to slam the door on any possibility of a changed outcome. This is when teacher’s pet comes up with an idea. Let us back up a bit. The teacher’s pet had thus far displayed do-goodery and demands for adherence to rules. However, now that she sees a way to get what she’s always craved (teacher’s approval), she suggests a deceptive ploy. She becomes the “Shabbos Goy”, doing the bidding of the Jew. Not unlike Jack’s scheme to impersonate Ned as a substitute teacher, she has the whole band act as though they are terminally ill. Jack then points this out to the panel and earns their sympathy and subsequent guilt. They agree to let them play at the battle of the bands. This is yet another example of a turn of events that determined if the plot could continue or not. Now, characteristics of cunning and cleverness are being manifested outside of Jack. The scheme aligns with historic examples of Jewish victimhood, and the powerful tactic of using the created guilt against others to achieve ends (state of Israel, protection from Anti-Semitism in Europe).
We return to the significance of Silverman’s character – the nagging girlfriend. She forces Ned into reporting the fact that Jack is posing as him at the school. Ned had gone along with the charade thus far, but Sarah’s influence proved more powerful than expected. Here the focus must temporarily shift to Ned, the eternal Goy. He is caught between two seemingly opposing forces: Jack and Sarah. Both Jews, it conjures up the “two sides of the same coin” paradigm of Capitalism (Jack) vs. Communism (Sarah). Communism is widely known to be a Jewish advent, but Capitalism may have different origins. It is, however, nonetheless a vehicle for Jewish power (Wall Street, Int’l Finance, etc.). For Ned, Jack is offering the Rock Star lifestyle of an alluring hedonism and fame. Sarah is offering a humdrum straight man’s life, all the while effectively pushing Ned towards Jack. While they basically villainize each other, they both need Ned. Without him they wouldn’t have a place to stay. Now that Jack has been outed as an imposter (“call him a Jew and see how he recoils”), he’s literally on the run. Nevertheless, his plot has passed the point of no return; the show must go on. Miraculously, the battle of the bands performance occurs as planned. The parents attend and comprise a significant part of the audience, cheering them on. Oddly enough, if asked about allowing their child to undertake such a venture, they’d likely say no. But with the “slow boil” method of slowly introducing various stages of the end goal, they are persuaded to accept it, never actually being asked. This could easily symbolize the cultural change of the past 50 years in America, in which people from 1960 would likely reject all of the things that are accepted to day (gay marriage, explicit movies, multiculturalism). Indeed, it is now being cheered on, this most Jewish of social agendas.
Despite not winning the contest, Jack is able to find success – he establishes an actual “School of Rock”. After school, the kids from the band go for music lessons and band practice. Of great importance, Ned is a teacher at the school. He has been drawn in by Jack’s temptation and pushed hard enough from Sarah’s nagging. What’s interesting is that earlier in the story Jack was imitating Ned as a substitute teacher. Now, Ned is basically imitating Jack. It can be said that Jack “re-formed” Ned’s character through posing as him, and now Ned is playing the new role created for him. The parallels the notion of the Crypto-Jew posing as a Goy and redefining the culture, only to allow the Goyim to follow suit.
The idea of Rock n’ Roll being a Satanic influence on America’s youth was directly explored in Jack Black’s later film The Pick Of Destiny, but also has an indirect connection in this film. More specifically, it is the notion that Rock n’ Roll represents the forbidden fruit encouraged by the serpent in the Biblical story of Adam and Eve. Like other concepts, it represents a temptation to Christians who are lead to believe they are stifled by rules, laws and commandments. The temptation claims to offer liberation, but can be said to be a masked presentation of degeneracy. In this film, the “serpent” worms his way into a private institution of education and is able to literally feed the youth Rock n’ Roll 101. Symbolic of countless other societal elements of the last half century (home equity debt, Christian Zionistic dogma, normalized homosexuality, etc.), the forbidden fruit has made its way into the school cafeteria’s menu. Indeed, two and two now make five, and the doublethink has become official curriculum.
Jack’s character has, at the end of the film, created a brilliant way to collect rent: Having parents pay for their kids to be “taught” Rock n’ Roll to not only fund Jack’s degeneracy, but to exponentially spread it. As many Jewish conspiracies hold, the influence must spread beyond all borders but always benefit Israel.