TV Jews: The New Class

For those of us who recall the 2000s, you’ll agree that network television was garbage (as if that fact has ever not been true). More specifically, shows like The O.C. displayed an epically failed attempt to define/redefine the youth culture of the time. Why mention such a shit-tier show from over a decade ago? Jews. Yep. Never fails. Fox pushed a little too hard on this one, by naming the Jew.

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If you’re vaguely familiar with the concept, it’s a show about a Jewish family that took in a fuck-up goy teen who has a full-on “Ross/Rachel” relationship with the goy-ess Mischa Barton. But that plot is beyond played-out. It’s the other half of the teen cast that’s more interesting – the Jews. Adam Brody is conspicuously cast as the reasonable punk/nerd who counterpoints that of Benjamin McKenzie. Rachel Bilson (half-Jew, daughter of a sex therapist) plays opposite Mischa in the foursome, which strangely reminds me of the film Bob & Carol & Ted & Alice. And not unlike the recent sitcom The Goldbergs, the show attempts to present Jews as normal, reasonable and white-presenting. In the O.C., the white characters (Mischa and Benjamin) are ridiculously flawed and there for easily contrasted by the seemingly normal Jew family and even Bilson character. I honestly don’t care enough to go back and find out what the various episode plots were, because the focus of this post is not The O.C.. It’s what the Jew actors did afterwards.

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Adam Brody went on to star in the film Lovelace (2013), a biopic about a porn star from the 70s. As many on in the Alt-Right have discussed, there is a direct involvement between Jews and the Porn industry. The question is, why would Hollywood spend millions to make a biopic about a porn star? Again, not unlike The Goldbergs, are they hoping to retcon something for the discovery of goys? Was “Deep Throat” an historic moment? They’re making movies about porn movies now? Well, I guess remakes are the best we can hope for. But the idea that Hollywood would attempt to make porn stars sympathetic characters (especially with Lovelace being a former prostitute) is laughable. Not having seen Lovelace, there isn’t much to comment on plot-wise. It would seem that the producers needed a Jew-presenting Jew actor for role of Harry Reems, and Brody was the only option. Guys like Brody have been hanging around Hollywood since the beginning. Before him it was Jason Biggs. Before that, Broderick. Before him? Elliott Gould. Jews probably sensed that their involvement in porn was bound to be exposed (no pun intended), and so they figured they’d spin it with Lovelace before it got “Weinsteined”. Of course, Deep Throat reportedly earned over 600 million worldwide, so perhaps Jews would want to celebrate that with a film that introduces it to a new generation. It’ also worth mentioning that the previous movie dedicated to the Porn industry was Boogie Nights. Does anyone recall the abundance of Jewish characters in that film? Me neither.

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Hart of Dixie

Rachel Bilson went on to do something much more meaningful and subversive: Hart of Dixie (TV show). It’s about a New York doctor who is randomly placed in the deep south with a bunch of country folks. Not surprisingly, she learns as much about life as they learn about avoiding death. As we’ve come to expect, the message to goy viewers is that southern people need a rootless cosmopolitan to take care of them. It’s the Jews way of telling viewers a) how southerners “are” and b) contrasting them with a New Yorker. I find this to be a rather powerful medium for Jews to send a message to the goyim who aren’t aware of their agenda. Since the everyday goy will no doubt identify with the town folk and not Bilson, her character can effectively tell the viewer how to act. How to think. How to feel. Hart of Dixie is arguable more subversive than a porn biopic because it sneaks in as a good-natured family show but seeks to unravel the fabric of white society. Too extreme? Let’s take a look at the creator of Hart of Dixie, who also wrote for the O.C.: Leila Gerstein. Surprised? This show was more Jewish than Seinfeld.

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The Jew Clue

A pattern has become all too recognizable: if a Jew is recruited to act in a TV show or film, there’s a very good reason. If the average viewer doesn’t realize it’s a Jew (they normally don’t), then you can bet that there’s a message for the goyim. Like Biggs in American Pie, telling the teens that it was all a normal high school experience. That “one time in band camp” or the fate of the pie are not based in reality. And yes, I understand that Hollywood is rarely based in reality. However, if we the viewer doesn’t identify with the setting or the plot, the message won’t work. I would argue this goes further back than Hoffman in The Graduate, to even John Garfield. We know Jews are almost always behind the screen (writing, producing, directing, groping). But whenever they try to thrust one onto the screen (with the exception of Woody Allen), you can bet there’s a message. It’s a clue that the goyim are being subtly re-educated about themselves and their values.

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The Road


Jews have designed the road that whites have been driving on for the last 50 years. Lord knows they didn’t pave it, but they’ve created the path that we’ve been on for decades. However, we are driving the car. We are all in the car. To be exact, Boomers are driving the car. They’ve been in the driver seat for the last half a century, and we can see the cliff from here. The Jews are laughing like Wylie Cayote as we approach sure death. White Nationalists were in the back seat for the longest time, but they’ve graduated to the passanger seat. They are yelling at the Boomer driver to stop and turn the car around, or better yet let W.N. drive.

The fallacy of blaming the Jews for the state of things is this: they aren’t driving the car. They didn’t even build the car. They designed the path that we’re on, and managed to convince the driver (Boomers) to take the wrong exit. Charles Manson convinced a few kids to kill some people in the 60s. But he didn’t personally kill anyone (despite being convicted of it). The point is, those people aren’t actaully dead because of Manson, at least not directly. The murderers aren’t in jail becuase of Manson. He was as insane then as he sounds now. They went along with his “thought” and ended up doing the unthinkable multiple times. Manson’s family was comprised of runaways, so one could argue that it could have been prevented if their parenting was better and stronger. The cultural revolution certainly didn’t help, thank you Jews. But the fact remains that his followers had a choice – they drove the car down the wrong road.

The goal of most White Nationalists is the creation of a white enthnostate, a place where other races are excluded. This is a natural concept, and historically normal across racial lines. However, it has become a seemingly radical notion thanks to the cultural and political shifts of the past few decades. America, for instance, has become an idea representing freedom for all. Anyone can become an American simply by coming here and making a living. America is practically synonomous with Consumerism, devoid of any enthic or religious cultural norm. Subsequently, Boomers have allowed immigration to get out of control, as well as cultural marxism to destroy what used to be a moderately Christian culture. Trans-sexuality is becoming normal, and Pedophilia is next. Given this, it is unlikely that anyone can envision America becoming a white ethnostate.

Some have proposed the idea of banning Jews (since they have Israel to go to) to attempt to solve most of our problems. While this is certainly a logical option (see Third Reich), a major problem will still persist: The Boomers are still driving the car. They killed Shannon Tate and her unborn baby, and they’re too fucked-up on OTC drugs to realize it. Not only are Boomers still driving the car, but we are closer to the cliff than ever before (being out-bred). The other passangers in the car represnt various factions and generations of Whites. The simple truth is, Jews may have created the idea of this situation, but whites have allowed it to become a reality. More than that, Boomers have created this reality enthusiastically. If kicking Jews out of the nation was the final solution, then why did Hitler fail? Historical revisionism aside, Hilter was defeated by other white nations. In the broadest sense, these whites are still “in the car”. How can we ensure that Shabbos Goyim won’t infiltrate the enthostate and seek to destroy it? How can we assume that the world won’t attempt to destory it like they did Germany? This may sound defeatist, but whites need to realize that the occupants inside the car are a serious threat. Even if the Boomers die off and give the car keys to someone else, it likely won’t be White Nationalists. It might be Shitlibs or crazed SJWs, assuming it hasn’t fallen of the cliff by then. One solution has been to start and “Red Pill” as many whites as possible (mainly Gen Z). This is certainly a necessity, no question. However, there’s a nagging concern. Those who promote this solution also identify that at least a century ago, America was a White Nation. They also say that the Founding Fathers were “woke”, and themselves Red Pilled. So the question is, what went wrong? The usual W.N. answer is simple: The Jews. However, they did not create this system. When the Hart-Celler act was passed in 1965, it was done through congress (yes, by Jews). But Jews didn’t create the U.S. congress, whites did. Jews didn’t create America, whites did. Whites got sick of other whites in England and decided to start their own nation. American whites were the ones who made the fatal mistake of participating in the slave trade. Whites in Europe have allowed their countries to be over-run by Muslims. Yes, whites are historically more creative than other races and generally less violent. But whites who seek power are still prone to corruption and evil, like most other races.

White Nationalists want to create either a “New America” or a non-jewish Israel ethnostate. A potential problem with the former is that America was confronted with problems that England hadn’t had to deal with before it’s inception (hostile natives, being guilt-ridden over a racist history, a civil war). More specifically, the lessons W.N.s can learn from America’s mistakes may not prevent similar problems for New America. Certainly the settlors learned from England’s mistakes, but they didn’t manage to save today’s America. For example – Israel is only 69 years old. It’s also being financially and militarily backed by the most powerful nation in the world. The white ethnostate will most likely not have a similar backing, and Israel may well prove to be a doomed state (it’s just too soon to tell). We see the error in allowing the Boomers to drive the car in today’s America. But who gave them the keys? How are we to know that a coming generation won’t do something as foolish as they have (or worse) in New America?

Nightcrawler: The (((Bloom))) of Hollywood

In the 2014 film Nightcrawler, the main character played by Jake Gyllenhaal represents the story of the Eastern European Jewish Immigrant to America. Namely, he represents the types of Jews who found success in Hollywood and the like, despite coming from abject poverty.

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Lou’s unknown origins 

Lou’s first words in the film are “I’m lost”. We know nothing about his past. He is desperate for work and seems to have very little possessions. Despite being able to think on his feet, he is seriously lacking in social skills. He sounds quite unnatural, as though he’s regurgitating sentences he read on the internet. The people he encounters are jaded and rather disillusioned, unlike himself. When he meets Joe Loder, he’s given some helpful insight into the world of Nightcrawling. Joe calls it a “flaming asshole of a job”, and refuses to hire Lou (fatal mistake).  At this point, Lou is an outsider, he is alien to this environment. He represents an immigrant coming to America, likely one from the early 20th century. More on that later.

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Lou’s development in the field 

Lou demonstrates that he is willing to steal (the watch, the bike) for his purposes. He seems to steal the watch just to have the status symbol. However, now that he’s interested in Nightcrawling, he takes the bike for the purposes of getting a police scanner and a camera. He starts out as a complete novice. It’s comical when he arrives at his first scene and doesn’t know what’s going on. He’s kicked out immediately. At this point, literally everyone that Lou encounters is hostile and mean. He perseveres. He manages to get some good footage of a scene that another stinger was at. Lou disregards the boundaries and goes right up close. They both get kicked out of the scene. Lou takes the footage to channel 6 (after eavesdropping on the other stinger’s conversation).

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Nina & Co.

Lou happens to meet Nina while looking for the place to deliver footage. She initially turns him away, but then asks what he has (desperation). He shows her the graphic footage and it becomes the top story of the morning. More graphic than normal, and an unusual piece.  Leo Bloom – Lou introduces himself as “Lou Bloom”. At this point it is clear that he’s meant to represent the Jewish immigrant of the early 1900’s (likely from Eastern Europe). Bloom is a common Jewish last name, and resembles the name of the character Leo Bloom from The Producers (1968). Leo was played by Gene Wilder, son of a Russian Jewish immigrant. The movie was written and directed by Mel Brooks, whose parents were also Jewish immigrants (German and Russian respectively). Of course, this isn’t uncommon of Hollywood players, but it certainly plays into the notion that Lou Bloom represents the Jewish immigrant experience to America. Gene Wilder’s mother was the reason he became interested in acting/comedy, and Nina comes to represent a motherly figure for Lou. She is the first person in the film to give him a chance, and treat him favorably. He instantly recognizes the potential for their relationship, and gains a bit more information from her about future footage.

Image result for leo bloom wilderSpecifically in comedy, Jews would do imitations of various types of people. Lou is imitating others as he learns the business. Lou is seen watching the film The Court Jester (1956), which stars Danny Kaye. The character that Kaye plays in the movie imitates the real Court Jester to gain access to the castle. Danny Kaye is another example of a second generation immigrant Jew who found success in Hollywood. He relied heavily on imitation and pantomime early in his career when he performed in Japan (not speaking Japanese). He developed his skills in a foreign place as an alien, like Bloom.

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Nina represents a veteran of an established industry, which Lou intends on dominating. He is becoming a “Producer”, and delivering his product to Nina. The Producers was Mel Brooks’ first film (despite having done many TV shows). He found his own “Nina” to give him the green light, and later he became a “Nina”. In The Producers, Zero Mostel’s (immigrant Jew) character Max bears some similarities to Nina. He’s older, desperate, failing, eager to try and take advantage of a younger person (Leo Bloom). Also of note, the film starts out with Max wooing elderly ladies for checks he says will go to his production (fake). This idea is kind of reversed in Nightcrawler, as Nina gives a check to Lou Bloom for his product (real). Max also shows similarities to Lou’s character, as he very quickly upgrades his office and car once he gets the “investors” money. Lou will do that later in the film with his equipment and vehicle. The dynamic between Zero and Gene also resembles that of Lou and Rick in Nightcrawler. Rick is naive and timid, while Lou is overbearing and unscrupulous. Lou ends up causing Rick’s demise, as Max causes Leo to lose his career and end up in jail. If Max hadn’t capriciously chosen Lorenzo as the actor for the play, he would have succeeded. Lou is not capricious, and always sticks to the plan.

The Bar Mitzvah –

Later, in a scene with Nina, Lou recites what he learned from an online business course. This scene represents his “Bar Mitzvah”, in that he’s changing stages in his profession. After all, a Bar Mitzvah is a ceremony signifying a Jew’s acceptance of responsibility of one’s actions. Lou is henceforth doing that. Many Bar Mitzvahs involve a lifting of the Jew on a chair. Since Lou is alone, he finishes the scene by simply sitting on a chair. Indeed, he has his foot in the door to a “studio”, not unlike a Hollywood beginner.

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Lou seemed to intend on hiring Rick no matter what. Rick has no credentials, no skills, etc. At one point, Lou says “why hire you?”, but then always Rick to continue to ‘sell himself”. Of note, Rick is nonwhite, and Lou initially offers him an unpaid internship. They settle on $30 a night, a clear example of cheap labor and exploitation (Rick basically represents a Mexican, even referencing a past lawn job). Lou was so early in his plan that he may have chosen unwisely rather than capriciously (like Max did). Of course, Rick turns out to be more of a liability than an asset. Lou’s entire plan could have come crashing down if Rick were allowed to continue. In this way, Rick sort of resembles Max in Producers, by making consistently poor decisions. Max is the one who chose the play, the actor and the idea to blow up the theater (all of which lead to his failure). Rick chose to work for Lou, and then to back out after agreeing to participate in the Critical Moment, and then going along for the car chase. Most rational people in Rick’s shoes would have disagreed at all points of this story and abandoned the job. Rick could have easily found a job to pay him $30 per night that didn’t involve near-death. Similarly, Max could have avoided going to jail by making rational decisions. Max failed because he was willing to “sell the watch” and is greedy – unlike Lou, who serves his goals first. Rick fails because he is stupid.

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Loder’s Failed Merger 

Loder approaches Lou with the offer to let him run his second van. Loder seeks expansion, and wants to bring Lou in as a partner instead of a competitor. Lour refuses. He makes a comment about going home to do “some accounting”, which seems like a comical reference to Leo Bloom (accountant in The Producers).


In the early 20th century, many major corporations started to merge and formed mega companies. On such example is the story of David Sarnoff (founder of NBC). The rivalry between Lou and Joe Loder resembles the one between NBC and CBS regarding color television’s debut. While CBS beat NBC to it (like Loder getting to the plane crash before Lou), NBC ended up outdoing them by providing compatibility to black and white sets (Lou getting to the car crash before Loder and the police). Sarnoff would later join the Rockefeller Brothers Fund panel, which influenced U.S. foreign policy. Of note, Henry Kissinger was involved (another immigrant Jew). Not unlike Lou, money was not the sole end goal for people like Sarnoff. He wanted to have power and control in the upper-echelons of the world. As Lou would show (manipulated the crime scenes he filmed), Sarnoff wanted to not only broadcast the news, but also create it. Interestingly, Lou’s theme in the film’s score resembles the NBC three note theme. It also sounds somewhat like Jimi Hendrix’s Star-Spangled Banner.

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Turning Point, Breaking The Mirror

Lou reaches a turning point in the story where he switches modes. He goes from imitating or mirroring others (Loder, Nina, etc.) to self-directing. After being humiliated by missing a plane crash, he smashes the mirror in his apartment. It’s the only time he’s physically violent since attacking the security guard at the start of the film. It symbolizes the end of his learning phase and the start of his dominance. After this point in the film, he starts to “write the story” and control events: sabotaging Loder’s van, withholding the footage of murder suspects, police shoot-out and chase, Rick’s death, etc. Indeed, this is the true “critical moment”. He creates a position of ultimate leverage and uses it against Nina. He gets everything he wants and suffers no consequences. This represents the American Jewish dominance of several key industries (banking, media, government). After the state of Israel was established, the mirror was broken. The controlling Jews in America began to “write the story”.

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The Critical Moment

Lou tells Rick that the coming events will be known as the “Critical Moment”, and he makes Rick agree to participate. Rick asks for a raise, to which Lou agrees. His plan is masterful, and involves the nearly simultaneous execution of multiple goals. In fact, everything hinges on this plan for Lou’s future (like the Jew’s state of Israel). Lou is able to eliminate two different threats to his company (Loder and then Rick), as well as capture the most epic footage in the history of Nightcrawling. The footage he brings Nina allows him to gain unprecedented control within the studio. This symbolizes Lou’s state of Israel, as well as American Jewish dominance in key industries. The arrangement made between Nina and Lou is left off screen, so we aren’t certain what was agreed on. Given the demands he made the last time they negotiated, one would assume that he was given a significant reward. Iraq War -To backtrack for a moment – Rick’s death resembles another segment of American history: The Iraq War. For starters, Rick was threatened and coerced into participating in the car chase that led to his death. Also, Lou tricked him into approaching the vehicle with the statement “he’s dead, get this shot”. As Rick discovered that the man was not dead and is then shot, Lou hides behind a nearby police vehicle. Like the Neo-con Jews who dreamed up the Iraq war and the beneficiaries in Israel, Lou avoids any harm. Rick represents the American troops who get sent in under false pretenses and dies. Additionally, there are several moments in the film that illustrate that it is set in the late 2000’s and not 2014 (when it was released). From the radio station’s reference to high unemployment at the start of the film, to Lou’s cell phone, even the dodge challenger, the film could be set during the aftermath of the financial crisis. This was a period when America was still involved in Iraq, and when fatigue was setting in on multiple levels of American society.

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Track Towards Growth

Lou gets questioned by the police for involvement in the car chase and shoot-out, but is ultimately let go. The scene of him walking out of the police station resembles that of The Usual Suspects (1995), when Verbal Kint does the same. Lou resembles Verbal’s true identity Keyser Soze, in that he is able to pull off an amazing plan (The Critical Moment) and survive unscathed while all other parties are killed. Further, he represents Soze because, as Verbal puts it, he’s “willing to do what the other guy wouldn’t”. Lou certainly embodies that idea, and demonstrates it numerous times in the film.

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-HailOurPeople 2017



*** More Echoes

One Easter Egg that seemed hard to explain was the following billboard:


“Focus” is an interesting word to capture in such an insignificant scene, until it’s tied in with the 2004 movie with the same title:

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It’s a film about a man who is assumed to be Jewish because he’s wearing a certain style of eye glasses. The film shows the hatred and discrimination he and his family experience. Lou Bloom is sort of the reverse of that, a Jew who “puts on glasses” (the watch?) that hides his identity, and he’s able to achieve his goals because of it.

Beck: Genre Nihilism of a Jewish Mind

The analysis of Beck’s first two major albums and the Jewish context of their content

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The demise of Grunge music (and the “Rock Star”) happened when Kurt Cobain died in 1994. Another event of great significance happened that year, too: “Loser” was released by an unknown artist named Beck. It was basically the song representation of the cover of the film “Slacker”, released a few years before. This bit of success went on to propel Beck’s career throughout the rest of the decade. Impossible to box in or replicate, the whole affair seemed serendipitous.

Beck Hansen self identifies as Jewish, and is said to have grown up in lower-income neighborhoods around blacks and latinos. Much of this article will focus on Beck’s Jewishness in relation to his approach to music, specifically concerning the treatment of genres. It is also worth noting that Beck’s father was a significant individual in the music industry, which may have helped launch his career.

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The music of Beck cannot be said to be purely any one genre. Not unlike Beck himself in the racial sense: he isn’t purely Jewish, won’t identify as white, grew up around many other races and ethnicities. As many have contended about Jewish power – it seems to promote race mixing and diversity. If indeed Beck is to be deemed Jewish, we suggest that he takes the same approach to music. It’s in his best interest to do such, mainly because he would not be successful otherwise -his vocal abilities would not suffice to elevate him within a defined genre. His image also would not fit the expectation of an established genre “star”; he seems to have stepped out of a thrift store and into the 1970s. The title “New Pollution” would not be unfitting to use to describe his music – it is a byproduct of other musics/genres. It cannot be built upon or developed; it is Beck.

This article focuses on the albums “Odelay” and “Midnite Vultures”, both of which best illustrate his musical concept. We have outlined a few tenants of his musical approach, which are elaborated on below – genre mixing, the lyrics, the time context (1990’s) and subverting norms.

Genre Mixing

Beck’s most unique musical characteristic and arguable biggest strength is mixing genres. Unlike his “contemporaries” in the early to mid 90’s (Grunge artists), he didn’t keep to the same genre. He didn’t even fit into a genre. Not only would he mix genres song to song, Beck would mix genres within songs. On occasion, he’d switch from genre to genre within parts of songs. Further, he would take easily identifiable elements from genres (slide guitar = blues/country, horns = soul/R&B) and force them into unlikely settings. It is difficult to determine if Beck deliberately chose this path, or if it is a byproduct of him not fitting into existing/established genres. Here we draw a parallel with the Jewish cultural impact on the U.S. of the 20th century. As cultural marxism undermined and redefined the existing culture of the U.S., so too did Beck’s music undermine and redefine music that preceded it.


Many have commented on Beck’s lyrics and the fact that they seem to rely on imagery and absurdity rather than meaning (in Odelay and Midnite Vultures). Beck’s lyrics lend themselves well to his brand of rapping, and he seems to employ the same style for his non-rap songs. What Beck has been able to accomplish is the perversion of the song – taking the most important element of it (lyrics) and rendering it unimportant. He seems to be able to think of interesting and unique lyrics and rhymes with ease, which has become an integral element of Beck’s music. In Odelay and Midnite, he has made the statement that people will sign along with whatever the words are, so long as they like the music.

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Many musicians agree that writing lyrics is the hardest part of songwriting, and Beck has found a way to avoid that difficulty. This relates directly to the observation that Jews in the U.S. are rarely if ever seen working in industries of labor (construction, manufacturing). Beyond just circumventing the challenges of lyric writing, Beck has also made the statement that meaningful lyrics are not a requirement for good songs. Like the celebration of Christmas becoming mere consumerism in place of religious tradition. Many have attributed this to the Jews, who, among other things, wrote the most famous non-religious Christmas songs. Beck has taken the serious tradition of lyric writing and applied a sort of Nihilism to it. They have, for him, become a means to an end.

Beck tends to employ a sort of logical dissonance his his lyrics, where the expected idea is sort of reversed. This not only serves as rather memorable moments in the songs, but also give the lyrics a pseudo-meaning in place of nonsense.


Lord Only Knows

“give yourself a call”

“there’s nothing dead left to kill”

“put your skeletons in jail”

On the surface, these phrases seem like nonsense. But they are sort of logical word plays that force the mind to question the premise. How could you call yourself? How can you kill what’s dead? Why would you put skeletons in jail? There’s also a certain odd humor to lyrics like this, which further adds to the pseudo-meaning of Beck’s lyrics.


Mixed Business

“mixing business with leather”

“re-write your diary”

“Christmas with Heather / Homework with Heather”

These phrases are more examples of an imagery that forces the listener’s questioning. Leather as in S&M? How could you rewrite a diary? Who’s Heather, and why do I have homework? In the last phrase, it is notable that Beck uses “Christmas” and “homework” interchangeably. He uses the words’ significance as a tool of imagery, not of meaning.

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Born in the 90’s

Beck’s genius has been that he cannot be named among others in relation to a genre. You like Beck’s music like you’d like the films of a certain director, despite the fact that the films don’t fit into the same genre. In that way his is an artist, but not in the way that Cobain was. Unlike Cobain, who died in the 90’s (literally and symbolically), Beck was “born” in the 90’s. He was one of the few artists to be discovered during the 90’s and actually survive beyond. Most successes of that decade were products of growing moments from the 80’s. Beck did not fit this mold. He was able to avoid “death by 90’s” because he was not tied to a doomed genre like Grunge. This could parallel the Jews’ experience in recent time – they are still considered a protected minority despite being effectively white and rather powerful. Whites are unable to escape their history and guilt, yet being Jewish equals victimhood. Indeed, Beck is a “victim” of being uncategorizable, as if the genres don’t want him. Yet that very quality is the only explanation for his success.

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Subverting Norms, Perverting Genres

Beck’s earliest albums have been labelled as “Anti-Folk”, which is considered as a subversion of the Folk genre and its lyrical seriousness. On Odelay, Beck showcases this same idea in the context of various genres. Tunes like Hot Wax and Where It’s At are a sort of “Anti Hip Hop”; they use the major musical elements but make a mockery of the rhymes and seriousness of the music. In the comedy world, Jews are known to make jokes and humor of serious and tragic past events. Since Hip Hop is arguably a statement on the perceived oppressed condition of the inner-city black youth of America, it is quite a Jewish idea to deconstruct it to the base elements and disregard the meaning. Beck has done the same with Blues music – something he studied in his youth for years but never seriously pursued musically (just the slide-guitar). The Dust Brothers had collaborated with the Beastie Boys previously, but at least they offer their take on Hip Hop. Beck never seemed to be interested in accepting a pure genre as it is. So too have Jews in the U.S. rejected the broader culture through subversion.

Beck also seems to reject the normal song structure on both Odelay and Midnite. Of course there are verses and choruses (the record label wouldn’t allow anything less), but random interludes and bizarre intros and outros are plentiful. Some songs literally seem to intentionally fall apart. Beck has demonstrated a purposeful inclusion of what most artists would discard as errors or mistakes – like squeaking strings on distorted guitar, speaker feedback throughout choruses, anti-guitar solos, etc. Indeed, elements of amateur recordings from his early days seem to have been deemed paramount. Additionally, Beck has broken the “fourth wall” of the album by including speaking parts that seem to pertain to the recording session (“pull out the big one” and “that was a good drum break”). As complete albums, both Odelay and Midnite are mixed bags. Midnight has more sound continuity, but Odelay is truly a collection of random recordings. It’s remarkable that the record label allowed for some many quirky Beck-isms to remain on the album. The only success they had to reference was that of “Loser”, which could have easily been lost in history. Beck’s success is interesting because it occurred after Grunge died and before Super Pop took over. The show Seinfeld (the most Jewish sitcom of the 20th century) also succeeded with perfect timing: after Cheers ended and before reality TV took over. Interesting that NBC told Seinfeld that they were concerned the show would be “too jewish”, considering they too are Jews. Beck’s music may have also been “too Jewish” without the input of the Dust Brothers and other producers.

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Beck is an interesting case, musically and historically. In attempting to think of any type of predecessor to his music, it’s nearly impossible due to the era he bloomed in (the 1990s). The tools he used (electronic music and samples) and the genres he borrowed (hip hop and punk) from did not exist in previous generations. In relation to Jewish success in America, it is the same notion of capitalizing on something that could not have been anticipated (the Holocaust, Oil in the Middle East, etc.). It is also interesting that Beck’s rise to fame with Odelay and Midnite came just before the “globalist” Super-Pop of Britney Spears and the like forever stifled all existing genres (Grunge, 90’s Country, Techno). Just listening to FM radio today shows us that something like “Loser” could never survive. The commercial interests set the agenda first, and then proclaim something a hit, not the other way around. In the context of a dying musical world of the late 90’s, Beck seems like Wall-E rummaging through a wasteland looking for items of interest. His music was not merely the deconstruction of other musics/genres, but indeed the product of dying music. In the Jewish sense, this fits with the notion that their success at destroying traditional racial culture (whites) hinges on the past/present success of whites. Beck couldn’t use Hip Hop if it wasn’t a successful genre, and Jews couldn’t use America to gain power if it wasn’t a successful nation.

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The School Of (((Rock))) : Minds For Molding

May 10th 2017

~ HailOurPeople

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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).

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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.

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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.

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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.

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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.

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