By: Guest Writer Cranky Yanky
I recently embarked on a mission to discover some “new” music, or better stated, music that is “new to me.” Since I am quickly approaching the age of 60, I have now been listening to a lot of the same music for several decades, whether voluntarily or not, and quite frankly, I’ve had enough! Thankfully, technology now affords us access to almost all recorded music, so I decided to explore this extensive “virtual” record collection for possible hidden gems. What follows is my “music mining” process:
- My search began in 1964, so I went to the Wikipedia page called “1964 in Music.” There it lists all the notable album releases for that year month by month. I then clicked on each musical act of interest which took me to their corresponding Wikipedia page. Once there, I pulled up the musician’s discography and downloaded all studio albums released during that decade (avoiding live releases or compilations and I also excluded music genres that I know I do not enjoy – Jazz, Country, and Progressive Rock.)
- After downloading all of the 1960s releases from several musical acts, I then began to listen to EVERY song using what I call the 30-second rule. By “30-second rule” I mean that I gave each track “up to” 30 seconds to capture my interest and/or not bore me. I immediately skipped any “hit” or familiar songs. (I also avoided “bonus” tracks like demos and alternate versions.)
- All songs that survived my 30-second rule were then placed into a playlist to weed out the weaklings. The “survivors” now comprise the song lists that I will be enjoying for my remaining time in this earthly realm.
To my dismay, for the decades of the 60s and 70s, I ended up with a paltry total of 48 songs after listening to thousands! I am not insinuating that all of the “non-hit” music released in those decades was “unacceptable” to me, just overly familiar, since those were my most fervently explored musical years, thereby significantly reducing the possibility of discovering hidden gems.
I was, however, taken aback by the overwhelming amount of…well…unlistenable crap.
Imagine if you laid down every music track released in a particular decade, like railroad ties on a cross country rail line, and then removed each “hit” and familiar song. What would remain (and I know I’m mixing metaphors) is the musical equivalent of a public swimming pool after the season has ended, stagnant and unappealing (with no shortage of candy bars.)
My reasoning for detailing this music exploration process is to lend credibility to my contention that the music THEY, the Music “Industry”, have supplied could and SHOULD be better. Many promoted musical “acts” (I refuse to call them artists) possess a noticeable lack of talent that does not justify their prominence in the public consciousness. Even though I didn’t attend a performing arts high school with an illustrious list of alumni, I can still think of 2 or 3 kids in my graduating class with more talent than many of the “artists” that I endured. The magnitude of the musical lameness I encountered started me pondering the term Music “Industry.” Could it be that we’ve been fed the musical equivalent of what we get from the Fast Food “Industry,” sometimes tasty and addictive, but ultimately uninspired, unhealthy, and…again…crap? If you regularly wash down your Taco Bell Meal Deal with a Monster Drink or some other vile liquid, there is no reason for you to read any further since you will likely find nothing objectionable about what I will be presenting. If, however, you prefer things clean and organic, please proceed.
Note: To be clear, I am not implying that these people have NO talent. I am saying that many of them have LESSER talent or have wasted it due to drug and alcohol abuse and are promoted because they descend from and are connected to the “correct” families. Part of my investigation will include genealogical information, and if you don’t think that kind of knowledge is essential, I can assure you that THEY DO. I will also be making military connections whenever possible because where the military leads in media matters, Intelligence (the spooky kind) follows. To back this up, I will also show how musicians are used to push agendas as tools/puppets of Intel. Finally, I will link higher learning institutions such as Yale and Harvard, known hubs of Intelligence, evidenced by their acknowledged complicity in the MK Ultra program and secret societies like Skull and Bones. I hope to be proven wrong, but I contend that if you’re not “in the club”, it matters little how talented you are; you will not be promoted.
This is a breakdown of the artificial musical flavorings and colorings that I will be focusing on: Military Industrial Complex, Intelligence Community, Elite Royal Connections, Medical Industry, Psychology, Psychiatry, Big Pharma, Politics, Governmental Agencies, Religion (Traditional and New Age), Corporate Affiliation, Ivy League Institutions, Psyops, Agendas, Phosphoric Acid, Potassium Benzoate, Red No. 3 & Yellow No. 5
Joan Baez Discusses Her ‘Mutual Fanship’ With Fauci https://thehill.com/blogs/in-the-know/in-the-know/555342-joan-baez-discusses-her-mutual-fanship-with-fauci Legendary US Singer, Activist Joan Baez Honours Dr. Anthony Fauci By Painting His Portrait https://www.malaymail.com/news/showbiz/2020/08/19/legendary-us-singer-activist-joan-baez-honours-dr-anthony-fauci-by-painting/1895350 Joan Baez Supports New Earth Institute Pandemic Response Initiative https://news.climate.columbia.edu/2020/09/01/joan-baez-pandemic-response-initiative/
Baez is an American singer, songwriter, and activist. Her mother, Joan Chandos Bridge was born in Edinburgh, Scotland, and descends from the Dukes of Chandos, a title that has been created twice in the Peerage of England. Its second creation in 1554 was due to the Brydge family’s service to Queen Mary I, who gifted them, Sudeley Castle. Joan’s father worked with UNESCO (United Nations Educational, Scientific, and Cultural Organization), causing the family to move many times. While growing up in San Francisco, England, France, Switzerland, Spain, Canada, and the Middle East, Joan claims to have been subjected to racial slurs and discrimination because of her Mexican heritage. Somehow, I doubt it.
In 1959, at the age of 18, Baez was signed to Vanguard Records, where she remained for the next twelve years. Vanguard Records was founded in 1950 by brothers Maynard and Seymour Solomon. Seymour served with the U.S. Army Air Corps, and Maynard, who produced (handled) Joan’s first 12 albums, was closely affiliated with Columbia, Harvard, and Yale Universities.
Throughout most of her career, Baez remained apprehensive about (publicly) involving herself in party politics; However, in 2008, she wrote: “If anyone can navigate the contaminated waters of Washington, lift up the poor, and appeal to the rich to share their wealth, it is Sen. Barack Obama.” In 2017, Baez released her first song in twenty-seven years, “Nasty Man,” a protest song against US President Donald Trump. In 2021, Baez serenaded Joe Biden at the White House with an improvised performance of “Ain’t Gonna Let Nobody Turn Me Around.” It appears that Joan was able to overcome her apprehension concerning the left-right paradigm…I mean, party politics. A protest singer who sang truth to power now just sings to power—truth be damned. Not surprising, considering that she has been controlled opposition from the get-go.
In 2006, Baez spent a night hoisted in a tree to protest the imminent eviction of a community of farmers in a poor neighborhood in Los Angeles. Yet, instead of educating her fans about the benefits of nutrition and natural remedies to boost their immune systems during the Covid Plandemic, she heralded “medical experts” like Anthony Fauci.
Baez also promotes her “old friend” Esther Gokhale, a “posture guru” who trained as a biochemist at Princeton University and studied at Stanford’s Medical School.
Book your very own posture guru for only $29.95 per month or $299.00 per year!
By 1980, Baez had released 22 albums. She has an admittedly fine singing voice, but who besides pretentious Ivy League college professors and hippie burn outs support her career? What are some of your favorite Joan Baez songs? Can you name one? Me neither.
The Beach Boys original lineup consisted of brothers Brian, Dennis, and Carl Wilson along with their cousin Mike Love (and friend Al Jardine). The Wilson brothers and Mike Love share the same Wilson ancestral lineage, and based on my experience, family trees generally fall into 4 categories:
- Extensive & Well Connected
- Suspiciously Sparse or Non-Existent
- Both 1 & 2
- Just Your Average Joe/Josephine
The Wilson/Love “Boys” family history falls solidly under category #1, extensive and well connected. Still, Wikipedia gives us the typical sob story about Murry Wilson’s (father/uncle of the Beach Boys) family being so impoverished after moving to Los Angeles that they camped for two months in a tent on the beach…no doubt having “Fun, Fun, Fun” in “The Warmth of the Sun”. There are also tales of generational child abuse, with Dennis Wilson one time stating, ““We had a shitty childhood…my dad was a tyrant. He used to whale on us, physically beat the crap out of us. I don’t know kids who got it like we did.” Dennis Wilson would eventually get involved in/assigned to the Hollywood production/psyop known as the Manson Family murders.
Dennis also became a raging alcoholic who died 3 weeks after his 39th birthday when he allegedly drowned after drinking all day. As the story goes, he dove into the water to recover his ex-wife’s belongings that had been thrown from his yacht THREE YEARS EARLIER. And it gets weirder. The U.S. COAST GUARD buried Dennis’ body at sea. At the time, only veterans of the COAST GUARD and U.S. NAVY were allowed to be buried in U.S. waters without first being cremated, but Dennis’s burial was made possible by the INTERVENTION OF THEN-PRESIDENT RONALD REAGAN. What? Why? In 2002, Brian Wilson expressed unhappiness with the arrangement, believing that Dennis should have been given a traditional burial. I guess Brian had a lucid moment in 2002.
BRIAN DOUGLAS WILSON is considered the principal originator of the “California sound.” As his mental health deteriorated in the late 1960s, his contributions to the band diminished and he became known for his lifestyle of seclusion, overeating, and drug abuse, ala Elvis. In the 1980s, he formed a controversial creative and business partnership with his psychologist (handler), Eugene Landy. We will never know what caused Brian Wilson’s mental “Wipe Out,” but it appears likely that Landy played a key role. Brian Wilson also had a close association with record producer (handler) Van Dyke Parks throughout the years. Park’s father served as chief psychiatric officer in the Dachau liberation reprisals wherein U.S. SOLDIERS and concentration camp internees allegedly killed German prisoners of war. https://en.wikipedia.org/wiki/Dachau_liberation_reprisals
When asked in 2016 about Brian Wilson’s negative comments towards him, Mike Love responded: “He’s not in charge of his life, like I am mine. His every move is orchestrated…” OK Mike, whatever you say.
I enjoy the Beach Boys early 60s hit songs, but don’t appreciate being gaslighted for not accepting the albums Pet Sounds and Smiley Smile as undisputed classics. Pet Sounds was initially met with a lukewarm critical and commercial response (for a reason) and Smiley Smile was received with confusion and disappointment (for a reason), but both albums have since been “reappraised” as critical and influential favorites in the Beach Boys catalog (for a reason?).
Most of the songs on Pet Sounds were co-written, along with Brian Wilson, by the guy responsible for the slogan, “You can tell it’s Mattel—it’s swell!”, a success that led him to write popular ads and jingles for Barbie and Chatty Cathy dolls (I take it all back, clearly this is genius at work, and I am a philistine). Shortly after reaching this “peak”, Brian Wilson’s wave was “blown out” sending him off to “no man’s land”. The Boys would then sail off into the sunset of obscurity while releasing an obscene number of Compilation albums (61 by my unofficial count). Who is buying this garbage and in who’s pockets are Brian Wilson’s royalties going?
49 thoughts on “The Musical Industrial Complex: A closer look”
My master tenant styled himself Cranky Franky when he was a local DJ here in Frisco. He’s a musical history book, too, but he’s older and more forgiving of “crap” than Yanky.
I hope there is more to come.
BTW, I’m convinced, based on my intolerance of crap, rather than proof, that acts like Ga Ga and Demi Lovato are tied to the rehab industry. I think these mutants are paid with stock options in pharma manufacturing companies rather than in cash, to incentivize the effort to convince girls that pills will get you even when their world unfolds like the lyrics and antics of these parasites.
The stage performances of these public nuisances used to be reserved for sailors on leave but now ten year olds twerk like maniacs with no clue about what’s waiting for them when they have to navigate the choppy waters of adolescence and have been groomed to throw their sexuality at the nearest buoy to keep from drowning in a sea of self-destruction.
And I’m also certain these CGI-enhanced lip-syncers are not “pan sexual” as they like to label themselves, but latent, libido-less test tube created drones who have had their reproductive instincts removed when they were just a twinkle in a Petri dish.
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Drove 750 miles yesterday from SLC to Frisco. Felt like a road trip up coast to Seattle 🙂
I’m here at Peet’s coffee and I’ve not seen more idiots in quite some time! Everyone is wearing a mask…both inside and on the patio!! This is like Utah 6/months ago!
Such gooood people 🙂
“All Gender Bathroom”… LOL!!
Joan Baez: Lifelong propaganda machine. Not enough to fuck up the music scene, her art prints of some of MSM’s most heavily promoted popular icons reaches new depths of cultural depravity. Buy, buy, buy one here:
https://www.joanbaezart.com/artist/1070 Worthless, or less than worthless.
What do appropriated television and print media images have to do with art, anyway? Didn’t Warhol pretty much exhaust that genre when Joannie and little Bobby Dylan were being injected into young minds in the early 60s?
When Warhol died (1987) top New York galleries spent days shredding enough copies of his prints to keep the price per unit from crashing. Pop is pop, I suppose.
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There might be a Zal rule for Baez … if you are sufficiently nested as a spook, she will paint your portrait. All the great phonies of our time are on display. I wonder if she actually paints, or is perhaps fronting for Andy Warhol, still alive I’m sure.
Whoever did them put way more time in it than Warhol would. He got into screenprinting from photos, highly mechanical. I wouldn’t be surprised if it really was Mrs Baez’s hobby/ assignment. Can imagine her taking classes in wax-resist or mixed media painting and getting to that passable skill level. It’s not great, but I’ve certainly seen worse from aspiring painters. She may have had a few pointers from pros, or else she’s been attentive enough at galleries to learn a few tricks.
Edited link so it shows up
The Beverley Hillbillies did a decent expose on the teenage singing idol in 1964. When Johnny Poke got a big head after signing autographs he was put in his place by his manager who informed him that without the echo chamber, the guy who plays the guitar for him, the ten piece band and $250,000 worth of publicity he would be back in the hills.
The hills aside, what got my attention was the echo chamber. The use of what might be called an echo chamber is central to that dreadful millenial whoop.
The big acts for years have had more sound and lighting engineers than band members. So it seems the studio can be taken on the road. In one major act I suffered in recent years the singer even sang – roll the sound effects.
So the question to ask of all the heavily promoted acts is can these well connected singers sing at all. No doubt they’ve had some training but maybe no more than learning that ubiquitous C Major chord progression to strum on stage.
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No, they cannot sing. They have autotune, chorus, compressor/limmiter etc. and the background vocalists who do the heavy lifting for them.
A while ago, I saw a documentary about Phil Spector and The Wrecking Crew in which they lifted a corner of the veil on the fact that these musicians are, in many cases, the real artists who provide the music on the studio albums of the 60s and 70s.
This Wrecking Crew is now presented as a phenomenon of the 60s and 70s but I bet my head that this was just the beginning of what the pop industry as we know it today has become.
The Stereophonics released an album entitled: “Just Enough Education to Perform” in 2001.
I played that album a lot and I still think there are some great songs on it. But the idea of being almost structurally conned about who the writers and performers are and the propaganda machine behind it made me decide to throw my LPs and CDs in the dumpster as a farewell ritual to an industry that ultimately did me little good.
I turned out to be very sensitive to the nihilistic, hedonistic and self-destructive message of this culture and there turned out to be quite a price to pay for indulging in what I thought was the product of my favorite artists.
Isn’t it interesting that the Beatles stopped touring and suddenly got very good on their instruments. There had to be a British Wrecking Crew at work too. Pete Ham of Badfinger … the group should have been called Badsinger.
The guys in the Bonzo Dog band were pretty good and tied to the Beatles through the post Beatle Rutles parody. If there was a British Wrecking Crew, my pound sterling would be on Viv Stanshall, Neill Innes and that lot.
To quote “Repo Man”, “Give you an example; show you what I mean: suppose you’re thinkin’ about a plate o’ shrimp. Suddenly someone’ll say, like, plate, or shrimp, or plate o’ shrimp out of the blue, no explanation. No point in lookin’ for one, either. It’s all part of a cosmic unconciousness.”
Thank you, Michael, for mentioning the “Bevs”! I have been watching the early b/w episodes for the last months; it is a treasure-trove, and actually a bit subversive in the hillfolk’s rejection of modernity and vanity. Their inability to become snobby hedonists and mindless consumers despite their fortune also goes against the grain. The wordplay and physical humor is excellent (especially Granny) and the many touching scenes with pets and wild animals are largely absent today. The scenes of them square-dancing or Jed singing “Dixie” would be canceled today, condemned as a training manual for white nationalism/lynching before you can say “trigger warning.”
But the “plate of shrimp” moment last episode was when a woman from an aristocratic genealogical society senses that Jed might be an original “American”, based on their family tree from their old Bible. (Can a Bible he shown anymore unless it is on fire/covered in blood?) Spoiler alert: When the woman asks for confirmation of Jed’s ancestor’s first name, he lies and gives the wrong name. He actively did not want to be a part of such foolishness and the “fame” that would go with it. Watching those old episodes feels like reading centuries-old books. Five stars!
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Look for Sharon Tate in one of those BW seasons of Beverly Hillbillies. She’s Jane Hathaway’s underling and was boffing Jethro off set.
Wow, nice tip! Sharon’s in 15 episodes, according to imdb, most all as Janet Trego, the aforementioned assistant. I am still a few episodes away from her Dec, 1963 debut, but Miss Hathaway’s zest for Jethro remained, despite the off-screen shenanigans as per this exchange:
Jethro Bodine: Uncle Jed, Granny, Looky here what I got. I just captured me the first prisoner.
Jed Clampett: Turn her loose!
Jethro Bodine: But she’s one of the bank people! Maybe she can get our money for us.
Granny: Can you?
Janet Trego: No I can’t!
Jane Hathaway: I can Jethro, capture me!
It was a shocking vibe to notice that most all these tough rock n rollers from the streets, that are or were signed to major record labels, are pro mask and pro vaccines. I feel betrayed.
Roger Waters I believe (Pink Floyd) is heavily promoting the venom too.
So, they are..like I said before…pulled out of the closet or basement, decades after their limelight…to give face and voice to a cause.
Most sensible people, after earning or collecting 10s or 100s of million$ would exercise a little judgement and NOT give interviews on camera for such nonsense.
But I believe its all “part of the deal”.
You are in your 70s or even 80s and wish to enjoy a little peace? So what! We have a use for you 🙂
Re: Waters and masking…a few months back, when I was one of 5% or less not wearing masks, I was going into the market when a semi-hippy (with a passing “plate of shrimp” resemblance to a younger Brian Wilson) stops me and says wonderingly, “Man, has anybody told you you look like Roger Waters. I mean just like him!” I said, yes, thankfully, my wife! But I could not have been him, sans mask. Too bad, but who woulda thunk a connected multi-millionaire would cave?
“Okay, Just a little pinprick,
There’ll be no more aah,
But you may feel a little sick.”
Pink Floyd’s ‘Comfortably Numb’, words by Waters
despite all, truer words never written, thanks Jackie!
There are a couple “antis” too… I forget who, but I’ve seen them. They get some grief on facebook etc, with cultists chastising them. For holding concerts deemed “super spreader” events, or just for speaking out against the dogma.
‘One Way or Another’ by Blondie and ‘Sweet Dreams’ by Annie Lennox in grocery stores? I couldn’t agree with you more and have been saying for years, we’ve been duped and straight up abused by the music that was pumped out by the industry. If you haven’t already, checkout the book ‘Weird Scenes Inside the Canyon’ by David McGowan. He was also digging into the military intelligence pedigrees in the top musical acts of the 60s and 70s. There are some interviews of him talking about this online. So, apparently, getting famous is not primarily about talent. All makes too much sense once you see it. When the music is garbage, if not downright insulting like the two hits I mention above, the contempt of the industry for the public is manifest.
Funny how “my/our” punk/alt songs are now elevator music; especially surreal when mixed in with canned exhortations to socially distance and maintain hygiene. “Oh what a drag it is getting gold (and knighted)…”
I was well into life years ago (currently 71) when I purchased the Pet Sounds CD. I like some of it and also like that the boys can harmonize and that they do have a unique voice, well, along with Jan and Dean. I like Good Vibrations , which is probably the only song on the CD that stands out, some of the others embarrassingly teen age sexual stuff. Good Vibrations can be labeled a Wrecking Crew hit. Sloop John B … where do such melodies come from? Not from Brian, Carl, Dennis, Al Jardine … they were merely the vehicle for introduction of some nice music from unconnected and unnamed sources. Years later, Key Largo too. That is all I can make of it. These are not musical geniuses. They are tools.
The Beach Boy formula can be broken down into a mélange of Chuck Berry, The Kingston Trio and Phil Spector’s wall of sound. For me, the chorus of Sloop John B is rock and roll’s Ode to Joy.
Good Vibrations was not on the original release of the album. “Wouldn’t It Be Nice” and “Sloop John B.” are good. I guess the album is OK, I just don’t get all the hubbub. I mean, look at the Wiki page for the album…seriously?
“Soft rock” had a crew called “The Section, ” who made some of the sounds that made rock stars, rock stars. https://en.wikipedia.org/wiki/The_Section_(band)
Cranky- are we missing part of the article? You said you’d cover food additives, I was curious where you were headed with that.
An old college prof of mine married Joan Baez’s first-degree cousin. You see, Joan’s father was once a physics prof in Baghdad and all the usual CIA hangouts.
The cousin, for his part, is a “mathematical physicist” (err… no such thing) who specializes in “string theory of quantum gravity” (err… DEFINITELY no such thing). So of course he receives generous grants and red-carpet treatment wherever he goes: UC Riverside, Germany, Singapore… You name it.
A friendly amendment: “in whoSE pockets”; not “who’s”. Let’s not abandon proper spelling – and I say this as someone for whom English is his fifth language.
Speaking of the music industrial complex…
Just today I was rereading Miles Mathis’ Mozart Faked His Death piece and it occurred to me that Mozart pulled an Elvis with his “retirement”.
First, Miles asks who was Mozart, finding his favorite foil, Jews, under every rock in his search for an answer. Because these people aren’t observant by any definition of the word ‘faithful’, I use the terms ‘bloodlines’ or ‘the families’ or some species of reptile rather than ‘Jews’ or ‘crypto-Jews’, regardless of any suspect’s association with one synthetic creed or another; these labels keep the anti-semitism ordnance from firing in my direction, which is always a conversation killer.
(Sometimes, in a paranoid frenzy, I wonder if MM pushes the J stuff to do just that: kill conversation and thus smother dissent from his pronouncements- the idea being that if he’s going to risk the sting of the anti-semitism charge, he must be telling a hard truth that’s worth that risk and so unassailable, thereby)
Mathis then asks why Mozart faked his death and suggests he was trying to wiggle out of his contract with the HRE emperor and was traveling far and wide, out of earshot of Vienna, looking for new sponsors.
I suggest he was wandering far and wide to buy up manuscripts from unconnected composers to woodshed his “posthumous” discoveries. I believe Mozart and his crew were buying other people’s music all along and returning to Vienna to embroider such purchases with Mozartian flourishes and promoting the works as his. That’s not to say he didn’t write his own stuff, but I suspect his catalogue is not nearly as large as it appears to be. And given that his sister was apparently the superior musician, maybe she was his George Martin, or at least his PJ Proby.*
This is not hard to swallow. Uncredited or stolen works are often attributed to the star performer and Mozart was a star of the first order.
The emperor was surely aware and approved, likely bankrolling the operation to enhance his court with the finest of everything.
But as we know, dead rock stars often sell better than live ones, especially as their audience ages, and I submit that was the impetus for cashiering the Mozart persona, letting the brand name do all the work going forward, with cover bands and the like.
Natch, undiscovered early works kept popping up the way Hendrix and Tupac recordings keep popping up, but that’s show biz, emphasis on the “biz”-
Miles goes into the wider context of the Mozart phenomenon, mentioning that the Holy Roman Empire’s retirement was one of the key events of the time. Miles, and apparently others, have Mozart living on under an alias- Nessing- not too far beyond Nassau, I notice- when the Holy Roman Empire closed down in 1806.
IMO, the HRE’s own cashiering suggests that the span of control over Europe was secure enough within the top bloodlines to begin the serious business of phasing out monarchies.
There had been Dutch on the English throne at the end of the 17th century, the German branch ready to follow, and with that kind of stateless rule, I’d say the thrones were largely for show by then. (The throne of Greece was actually offered to Edward Bulwer-Lytton at one point in the 19th century, which he declined because being the Steven King of his day was far more profitable. Imagine a fiction writer ruling a country. Not hard to believe that today)
The unification of Italy and Germany came later, but the unification of culture is probably far more important than occupying contiguous land masses. In that regard, unifying, say music, by promoting the myth of a (State approved) super genius under whom all others must yield is part of that manufacturing of a consensus audience, not just for flag worship, but also getting the masses to adhere to ‘proper’ tastes.
Unification, consensus building, socialization, means globalization to the lizards that be. This was understood well before Yahweh hit the scene.
*PJ would sing submitted songs to Elvis who would then mimic Proby’s stylings and contort them to his own taste.
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The link below is to a piece I wrote in 2017, and the post links to a 10,000-word essay on Mozart. The point I took from it was that much of Mozart’s “later” works was really just music houses (sheet music) trying to impress on everyone that the greatest composers were German. So they bought up whatever they could from wherever, and attributed it to Mozart.
One more opinion. The thing that impressed me was that I don’t like most of Mozart’s work, too choppy and non-melodic, but then there are some of his pieces that are simply beautiful, as with Piano Concerto 21 and Lacrimosa – all of Requiem, for that matter, supposedly finished after his death, if that is a tell.
Mark, I apologize- I forgot about this post! I also forgot about Leopold- clearly the George Martin of the op.
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No sweat. I don’t know what to make of the essay otehr than the guy had a solid base in music from which to write.
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And speaking of the Holy Roman Empire, historical legend has it that Marie-Antoinette briefly knew Mozart when they were very young at the Viennese court in Schönbrunn Palace. Of course, we’ve seen that like Mozart, she and her French royal friends all faked their deaths during the fake French Revolution. I bet they maintained contact with each other after their hoaxed demises, perhaps even drafting musical pieces together. Antoinette too had an ear for music.
Marie-Antoinette herself was also a musical prodigy, having been taught the fine arts of music by the likes of Gluck et. al. I have a hunch that she may have also had a musical alter (like Mozart’s George von Nissen), aside from her identified role as Fitz, George IV’s Roman Catholic mistress.
“When Archduchess Maria Antonia (“Antoine”) of Austria, the future Marie Antoinette was recorded as singing a French song as early as three-years-old, for the name day of her father, the Holy Roman Emperor Franz I, in 1759. She also met the young Wolfgang Amadeus Mozart, who gave his first concert at Schönbrunn Palace, the magnificent Habsburg summer residence on the outskirts of Vienna, in 1762, in the presence of the Empress and the Imperial Family, with the boy prodigy from Salzburg performing on the harpsichord. As Austrian Archduchess, Marie Antoinette’s young love of music was expressed in the painting of her at the spinet by Franz Xaver Wagenschön, a delightful image now part of the Kunsthistorisches Museum collections. The portrait is arresting, showing Marie Antoinette poised to turn the pages of her music, with one hand delicately resting on the keys. She is dressed in a day dress of blue satin, trimmed with fur, possibly of sable. It is proof, in any was needed, of her early commitment to what would be, a lifelong relationship.”
(And let’s not also forget that these two music aficionados had intimate ties to Freemasonry and the Occult, which were founded, bankrolled, and controlled by the same ruling bloodlines that spawned them two.)
Doing further research into Mozart’s name, I discovered something really interesting. Apparently, it is admitted by the mainstream that Mozart “went by many different names in his lifetime“, which they said is due “partly from the church traditions of the day” and because “Mozart was multilingual and freely adapted his name to other languages.” I see things differently. If Mozart was going to muddy the tracks of his actual whereabouts (especially after his “death”), then it would make sense for him to assume different aliases, including different versions of his name, although his bilingual talents certainly helped with that, as Wikipedia aptly puts it.
His original birth name was actually “Joannes Chrysostomus Wolfgangus Theophilus Mozart”, according to his baptismal docket. It is given a transcription by Otto Erich Deutsch, an Austrian Jew (see it in the Wikipedia article sourced near the end of this comment.)
In later life, he would adopt different versions of his birth name. The first mention of “Amadeus” into the equation was during the peak of his musical career in the late 1770s, in forms of “Amadeo” and “Amadè”. “Amadeus” is a variant of “Theophilus”, which may be a Jewish reference in Biblical history. As we’ve seen in Mathis’ article on Mozart, his surname is also Jewish (“Mozart” means “Moses’ heart” in German), so this is further proof of his Jewishness.
“A growing belief… points to Theophilus ben Ananus, High Priest of the Temple in Jerusalem from 37 to 41. In this tradition Theophilus would have been both a kohen and a Sadducee. That would make him the son of Annas and brother-in-law of Caiaphas, raised in the Jewish Temple. ….”
Mozart’s Wiki page goes on to say:
“The use of multiple language versions of the same name was perhaps common in Mozart’s day. Joseph Haydn went by “Joseph” (German, English and French), “Josephus” (Latin) and “Giuseppe” (Italian); and Ludwig van Beethoven published his works as “Luigi” (Italian) and as “Louis” (French).
Mozart’s preference for “Wolfgang Amadè” can be seen on the wedding contract for his marriage to Constanze Weber, dated August 3, 1782, where the composer’s signature is “Wolfgang Amade Mozart“. In the parish register entry for the marriage, dated August 4, Mozart is referred to as “Herr Wolfgang Adam Mozart“.”
These details can shed a huge light on why Mozart became Georg von Nissen after late 1791. Mozart’s use of the diplomat’s surname was just a continuation of his tradition of using multiple aliases on different occasions when it suited him. I am sure we can find similar examples in more recent famous figures in Hollywood and elsewhere.
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Another interesting fact that ties Mozart to French royalty:
Marie-Antoinette attended the play The Marriage of Figaro, held at the Paris Opera in the “city of lights”, when the verdict of the Diamond Necklace court case was announced to the crowd. Reportedly, the royal party in attendance was dismayed by the news and returned to Versailles in tears following the announcement.
The Figaro was a controversial musical piece for its time, for it criticized the aristocracy for their decadence and corruption, and initially it was censored by the French crown for its content, although some members of the nobility and even the Bourbon dynasty, such as Marie-Antoinette, took liking in it, helping to accelerate its popularity. It premiered in Vienna, the Austrian-born French queen’s birthplace, on May 1, 1786. May 1 was of course the founding date of the Bavarian Illuminati in 1776, and is also the date of the May Day jousts.
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Mozart was also ennobled by the Papacy in 1770. Ironically, he never flaunted his noble status, always keeping it low-key, although he did hint his bestowed nobility in his signature. Perhaps he didn’t want people to connect the dots. So he definitely wasn’t a “commoner”.
“On 26 June 1770, Mozart was awarded the Order of the Golden Spur by … Pope Clement XIV. By receiving this honor, Mozart was appointed Comes palatinus Lateranus, i.e. Papal Count Palatine who in his home country had the right to use the predicate of nobility and to claim the social status that was connected with knighthood. …. During his later life, Mozart never claimed his status as nobleman. A trace of his title only appears in his signature which he graced with the syllable “Ca” for the Italian word “Cavaliere”.”
Learn more at:
For someone who they claim was in dire financial straits at the end of his life, he sure managed to rent large, relatively luxurious apartments – some of which were more than two-storied buildings! Clearly he had big money backing him, but perhaps the pay wasn’t enough for him. So he takes his death and profited off of his legacy “postmortem”.
“What conclusion can be drawn from the archival sources related to Mozart’s apartment in 1788? It seems that Mozart’s main reason for moving to the outskirts of Vienna was not to reduce his costs, but to take advantage of the better living conditions in more spacious environs. …. Owing to the sheer size of his apartment and the high cost of the rent on the Alsergrund, Mozart’s move to this suburb in June 1788 did not lead to a real cutback of his expenses. It rather led to a … improvement of Mozart’s quality of life.”
It continues, saying thus that:
“The circumstances of his choice of lodgings show him as a man of the world, who, in spite of being faced with a major decline in income, is unable to reduce the living standards to which he has become accustomed.”
Or rather he didn’t have any money problems at all. Otherwise, he couldn’t have afford renting expensive apartments to keep up with his lavish lifestyle, even if he wanted to. I call bullshit on the entire fairytale that he was ‘broke’ in his later years. He wasn’t.
While doing research into Mozart’s genealogy, I discovered that his mother, Anna Maria, was a Walburga.
“…Anna Maria Walburga Mozart (née Pertl) (December 25, 1720 – July 3, 1778) was the mother of Wolfgang Amadeus Mozart and Maria Anna Mozart…”
“…She was born in St. Gilgen, Archbishopric of Salzburg, Holy Roman Empire to Eva Rosina (1681–1755) and Wolfgang Nicolaus Pertl (1667–1724), deputy prefect of Hildenstein. Nicolaus had a university degree in jurisprudence from the Benedictine University in Salzburg, and held a number of positions of responsibility, including district superintendent in St. Andrae. He was apparently a skilled musician. …”
It’s possible that Walburga is a variant of Wallenberg, as in the powerful Wallenberg family of Sweden, one of the richest & most influential families in the world. The dynasty was officially founded in 1856, when André Oscar Wallenberg established Stockholms Enskilda Bank(SEB); however, their roots predate the mid-1850s, going back as early as the 17th century. One of its early ancestors worked for the Swedish East India Company. You’ll find a host of Jewish names in their genealogy.
“The Wallenberg family are a prominent Swedish family, Europe’s pre-eminent, most powerful business family and dynasty, renowned as bankers, industrialists, politicians, bureaucrats, and diplomats. The Wallenberg sphere’s holdings employ about 600,000 people and have sales of $154 billion a year. The Wallenberg empire consists of 16 Wallenberg Foundations, Foundation Asset Management AB (FAM), Investor AB, Patricia Industries and Wallenberg Investments AB.”
“In the 1970s, the Wallenberg family businesses employed 40% of Sweden’s industrial workforce and represented 40% of the total worth of the Stockholm stock market. By 2011, their conglomerate holding company, Investor AB, had an approximate ownership of 120 companies.”
“The earliest known member of the Wallenberg family is maintaining farmer Per Hansson of Hertzberga (1670–1741) who, in 1692, married Kerstin Jacobsdotter Schuut (1671–1752). Their son, sheriff **Jacob Persson Wallberg (1699–1758) married twice. The children of his first marriage to Märta Christina Kiuhlman called themselves Wallberg and those of his second to Anna Kristina Tillberg, daughter of vicar Marcus Joannis Tillberg, called themselves Wallenberg. The eldest son from his second marriage was lector of theology and vicar of Slaka, Marcus Wallenberg. His younger brother, Jacob Wallenberg, was a naval chaplain of the Swedish East India Company…”
Walburga means “ruler of the fortress” in the Germanic language, which is quite befitting for a woman who probably descended from European nobility.
The name Walburga is from St. Walpurga, who was an Anglican nun that did missionary work in the Holy Roman Empire, namely Germany. It’s admitted that she was born a noble. She was incredibly well-read, as well as well-travelled, for her time. She was canonized on, you guessed it, May 1, 870 AD by Pope Adrian II, almost a century after her death in 777-79 AD.
“Walpurga was born in the county of Devon, England, into a local aristocratic family. She was the daughter of Saint Richard the Pilgrim, an underking of the West Saxons, and of Saint Wuna of Wessex, and had two brothers, Saint Willibald and Saint Winibald.”
There was also a Jesuit church built in the saint’s honor in Bruges, Belgium. As we all know well, the Jesuits are cloaked Jews, so that in itself says a lot about her.
Anna was also an Altmann (Altman), a Schmidt, a Zachner (Zahner), and a Pertl (Perla) – all Jewish names. Therefore, that made her and her children crypto-Jews. And as I said previously, the name Mozart is also Jewish, so that made them 100% Ashkenazi Jews.
Here’s some more information I discovered on Mozart’s genealogy:
On Mozart’s paternal side (via his father’s maternal line), he’s a Sulzer and a Baur. Both can be Jewish names. Baur is a variation of Bauer, which was the name of the family that became the Rothschild dynasty. As both families hailed from central Europe, it’s possible that they’re related by blood.
Further up his father’s male line, he’s a Harrer and a Negeler. As we’ve discussed previously, the name Mozart is a variation of Motzhart, which means “Moses’ Heart” in German. Some of his ancestors were also textile merchants, a profession Jews are heavily involved in after banking. So the famous composer Mozart was Jewish on all sides, as we’ve seen.
The furthest I’ve gone back is Heinrich Motzhart, who lived in the Middle Ages. Little else is known of him.
As the jew question was mentioned, may i be allowed to say one thing?…and i will not push it further;
As someone who grew up with an uncle in the “families” (my father was a complete outcasted black sheep) I can guarantee you that they are “faithful” to being a jew. It matters not a rats ass that they have never opened the bible or gone to the synagogue; they are Jewish through and through and it is something you cannot understand unless you have experienced it first hand.
Now it is certainly true that it is the ultimate conversation killer and therefore diplomacy requires we do not mention the J word, but i also suspect that most people do not want to touch the j subject even when they know that that is the key to understanding who is controlling things, because to really research and ponder what such a thing means leaves one with a very unsettling feeling, and i know from experience that that feeling is hard to shake off; it can lead you to places that it is best not to go; perhaps that is also why mark has made it off limits; it tends to touch the rawest nerve in people who like to get to the root of things…and the jews are at the root of all the things that are discussed on this blog, and also at the root of all things discussed on this blog is …. MM.
Thank you for the insightful comment.You were put in moderation due to a first-time commenting rule that keeps put certain elements. Hereafter there’ll be no restrictions. Hope to hear more from you.
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Thanks to everyone for their thoughtful comments. Much appreciated.
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Tyrone, I sure miss your posts…for me, this comment ranks as one, thanks. Kinda like the Shakespeare thang…why is it always the “great man” rather than a variety of good ones with a few great works each?
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I wonder if we can look into other famous musicians like Beethoven or Bach in the future in a next episode about the Musical Industrial Complex? What do you guys think?
It is somewhat frustrating that we have discussed these matters at length and you chime in later, having missed it all, wanting to have a discussion. The only phony I see is Mozart. If you think he was writing symphonies at age five, or died at 35, I’ve a bridge to sell you.
No need to be terribly condescending on your part, but I am curious to know since when y’all have “discussed these matters at length” about Beethoven or Bach, besides speaking extensively about Mozart in a couple posts? I don’t see how merely inquiring or asking questions about the less-explored facets of this period in music history should merit frustration as a response.
As for Mozart having been “the only phony”, I think that’s a rather terribly naive position to assume. While not every single musician in history was and is a “phony”, that doesn’t mean Mozart was the only one. Considering the extensive interest and control these people have always enjoyed over mainstream music, it’s highly reasonable to assume that there were plenty of spooks in the musical genre back then, just as there are plenty now.
Unless you’re being sarcastic, I don’t know why you’d assume that I would readily believe anything official history says about Mozart when reason & truth contradict it. I don’t even believe he wrote all of the compositions attributed to him, much less the stories of his life and death in general. The fact that he was always gravely ill challenges the notion that he habitually penned tons of musical pieces throughout his lifetime. At best, he might’ve written or improvised a couple dozen compositions, if not less.
Sorry for the tone. Not aware of it, and yes, we’ve done nothing at length on Bach or Beethoven. Beethoven is far my favorite, and just as Shakespeare is said to be the work of others, I think so what? Whoever wrote it, it is magnificent! So too with Beethoven – some body or bodies wrote that music, and it is magnificent. I’ve long suspected a committee wrote the Beatles’s songs and played the instruments, and while it is all much more pedestrian than Beethoven or Bach, still, it took exceptional talent.
Regarding Mozart, the long piece I linked to had to do with music houses trying to assemble everything under German composers, and the author claimed that Mozart was the beneficiary of that effort. I don’t care for most of Mozart, but indeed some of it os beautiful (Requiem, Piano Concerto 21, and a few others.) I regard him as a fraud, much like McCartney. (Lorne Michaels refers to McCartney as a “fucking Mozart.” He has no idea how close to accurate that is.}