Zionist Spies Against America 12-7-7

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Zionist Spies Against America 12-7-7

Post#1 » Mon Oct 11, 2010 2:30 pm

"Jonathan Pollard, one in a long line of Jewish American spies. The total number of Jewish spies convicted or expelled from the US exceeds the number of spies from all other ethnic groups. As Jews make up only 2% of the American population and blacks 14%, there ought to be seven times as many black spies. In fact, there are none." http://www.theoccidentalobserver.net/au ... byeII.html

and why isnt this mainstream news EVERY F-ing day???
For our informed readers, we know why and whom is responsible for the masses knowing NOTHING.

But the dam of stupidity is breaking, and like a dam that stops functioning, the waters overflowing it will be like the truth lighting the way for freedom to return, not to just Amerika, but to the whole world.
pk


Zionist Spies Against America 12-7-7
http://www.rense.com/general79/zspies.htm


Pictured here: J. Robert Oppenheimer


Out of the dozens of American spies active from the 1930s-onward, the overwhelming majority were Jewish-by-race. Only a few -- e.g. Whitaker Chambers, Alger Hiss, Elizabeth Bentley -- were non-Jews.

Kindly note that this list below is just the tip of the Jewish spy iceberg. There were scores of top-echelon Jewish spies in America from the 1930s-onward, actively spying for the Soviet communists. In fact, we own a large list of those spies. So why not list them all here? Some were never convicted in a court of law, some were apparently-Jewish but not provably-Jewish, etc. As we get more concrete information about Jewish spies, we will list more names.

____________

Julius Rosenberg; electrical engineer; transferred U.S. atomic secrets to the Soviets, sentenced to death and executed in June 1953.

Ethel Greenglass Rosenberg; wife of Julius; transferred U.S. atomic secrets to the Soviets, sentenced to death and executed in 1953.

David Greenglass: brother of Ethel Rosenberg; aided the Rosenbergs; was a Los Alamos machinist; passed drawings of atomic implosion lens to Harry Gold.

Morton Sobell; former employee of the Navy's Bureau of Ordnance; radar engineer and former classmate of Rosenberg.

J. Robert Oppenheimer; top U.S. nuclear scientist; was in charge of the Manhattan Project; gave the Soviets atomic secrets.

Leo Szilard; worked with Oppenheimer on the Manhattan Project.

Bruno Pontecorvo; born in Italy; emigrated to Oklahoma in 1940.

Morris Cohen [aka Peter Kroger]; spy recruiter; assisted the Rosenbergs; entered U.S. Army in 1942.

Lona Cohen; [aka Kroger]; wife of Morris Cohen.

Robert Soblen; fled to Israel; committed suicide while being extradited back to America in 1962.

Jack Soble; head of a U.S. spy ring which included 'Agent Frost'; members of the ring
were indicted/arrested in 1957.

Victor Perlo; the CPUSA's [American Communist party] official economist; was on the War Production Board.

Lee Pressman; Congress of Industrial Organizations [CIO] lawyer; Communist party member.

Jacob Albam; an associate of Jack Soble.

Nathan Gregory Silvermaster; see this powerful quote from a February 25, 2000 FBI public information press release, re: its public Electronic Reading Room: "Nathan Silvermaster Group -- 1,951 pages; Nathan Silvermaster was a leader of a Soviet espionage ring. This espionage investigation from 1945 to 1959 uncovered Soviet placed agents working within the U.S. Government. The case - titled Gregory, using the middle name of Silvermaster - exposed 27 individuals in the Silvermaster ring who gathered information from at least six Federal agencies to turn over to the Soviets. No indictments for espionage were returned against any subjects in the Gregory case by any Grand Jury; however, a Grand Jury did return an indictment against Alger Hiss for perjury." That Mr. Silvermaster oversaw 27 spies -- and that the FBI says so regardless of no indictments -- is significant.

V. J. Jerome [aka Isaac Romaine]; the theoretician of the CPUSA.

Alexander Trachtenberg; member, CPUSA.

Israel Amter; a CPUSA leader.

"Gus Hall" [Arvo K. Halberg]; U.S. Communist Party chairman; defendant in Foley
Square trial of American Communists.

Philip Bart; general manager of the Daily Worker newspaper.

"Carl Winter" [Philip Carl Weissberg]; defendant in Foley Square trial of American Communists.

Joel Barr; pal of Julius Rosenberg; electrical engineer; worked on military radar at the U.S. Army Signal Corps lab at Fort Monmouth; recruited by Rosenberg; fled to Czechoslovakia, he assumed fake identity.

Harry Dexter White [real name Weiss]; Deputy Secretary of the Treasury under Henry Morgenthau; helped create the World Bank.

Alfred Sarant; pal of Barr; electrical engineer; worked on military radar at the U.S. Army Signal Corps lab at Fort Monmouth; recruited by Rosenberg; fled to Czechoslovakia and assumed fake identity.

Harry Gold [real name Goldodnitsky]; chemist; part of 1940s Fuchs-Gold spy ring.

Theodore Hall [real name Hallsberg, also claimed Holtzberg]; worked with Enrico Fermi and J. Robert Oppenheimer; "was the first to provide the Soviets with the crucial information that helped them build the bomb." [1]

Yakov [Jacob] Golos; chief organizer of spying action through the American Communist party.

Armand Hammer; millionaire; Communist; head of Occidental Petroleum; one of the world's only millionaire/Communists.

Samuel Dickstein; U.S. Congressman from New York. Recently-released Soviet records revealed his spying.

Jonathan Pollard; U.S. Navy intelligence analyst; passed classified material to Israel -- where he is a national hero due to his spying actions.


[1] article "The Boy Who Gave Away the Bomb," by Joseph Albright and Marcia Kunstel, The New York Times, September 14, 1997.

Sources for the above document include, but are not limited to: essay "The Jewish Disproportionate Involvement in Communism," by Ian McKinney, [Rev. 3.0, July 24, 2000]; and Jewish Tribal Review's web book "When Victims Rule." Plus web searches and library research.

Posted by The_West

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Israeli Professor - 'We Could Destroy All European Capitals'

Post#2 » Mon Oct 11, 2010 2:32 pm

This is what JFK tried to stop, and was murdered by Israel INC.

Israeli Professor - 'We Could Destroy All European Capitals'
By Nadim Ladki 2-6-3
http://www.rense.com/general34/esde.htm

(IAP News) -- An Israeli professor and military historian hinted that Israel could avenge the holocaust by annihilating millions of Germans and other Europeans.

Speaking during an interview which was published in Jerusalem Friday, Professor Martin Van Crevel said Israel had the capability of hitting most European capitals with nuclear weapons.

"We possess several hundred atomic warheads and rockets and can launch them at targets in all directions, perhaps even at Rome. Most European capitals are targets of our air force."

Creveld, a professor of military history at the Hebrew University in Jerusalem, pointed out that "collective deportation" was Israel's only meaningful strategy towards the Palestinian people.

"The Palestinians should all be deported. The people who strive for this (the Israeli government) are waiting only for the right man and the right time. Two years ago, only 7 or 8 per cent of Israelis were of the opinion that this would be the best solution, two months ago it was 33 per cent, and now, according to a Gallup poll, the figure is 44 percent."

Creveld said he was sure that Israeli Prime Minister Ariel Sharon wanted to deport the Palestinians.

"I think it's quite possible that he wants to do that. He wants to escalate the conflict. He knows that nothing else we do will succeed."

Asked if he was worried about Israel becoming a rogue state if it carried out a genocidal deportation against Palestinians, Creveld quoted former Israeli Defense Minister Moshe Dayan who said "Israel must be like a mad dog, too dangerous to bother."

Creveld argued that Israel wouldn't care much about becoming a rogue state.

"Our armed forces are not the thirtieth strongest in the world, but rather the second or third. We have the capability to take the world down with us. And I can assure you that that this will happen before Israel goes under."

Islamic Association for Palestine (IAP)
http://www.iap.org

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Kevin MacDonald: Pat Buchanan is Censored by Human Events

Post#3 » Mon Oct 11, 2010 2:33 pm

Kevin MacDonald: Pat Buchanan is Censored by Human Events
http://theoccidentalobserver.net/tooblo ... 49&cpage=1


Kevin MacDonald: Pat Buchanan is a national treasure — by far the most articulate and sensible spokesman in the mainstream media — or at least close to it — for a wide range of issues, from immigration, to economic nationalism, to foreign policy issues. Unfortunately, his exposure in the MSM seems to be on the wane. He still appears on the McLaughlin Group, but his former base at MSNBC has disappeared, and his exposure in the major newspapers seems non-existent. I can remember in the 1990’s when he was a regular on the LA Times op-ed page, which seems inconceivable now. (There was an LA Times column he did on the Frankfurt School at a time when I was starting to research Jewish intellectual movements. After reading his account of how the Frankfurt School undermined the family, I thought that there might be a Jewish story there. Not a bad guess. The Frankfurt School was labeled a “Jewish sect” by Gershon Scholem, and the Frankfurt School became the subject of Ch. 5 of The Culture of Critique and much subsequent writing. Thanks Pat.) Not surprisingly, Buchanan has a very long rap sheet at the ADL.

Buchanan’s latest article, “The Poodle Gets Kicked,” on the Biden visit to Israel will do nothing to endear him to the ADL. Buchanan makes an excellent case on the absurdity of supposing that US and Israeli interests are identical. The interesting thing is that the version that appeared on the Human Events website was about half the length of the original. (See “Human Events Censors Pat Buchanan’s Latest Column” at Buchanan.org). Linda Muller, who runs Buchanan.org, suggests that this is the result of neocon censors at Human Events, and notes that the revised version leaves out any mention of AIPAC or the USS Liberty incident.

It should surprise no one that Human Events would be involved in such a clumsy version of censorship. These are the people who fired Kevin Lamb after a phone call from the SPLC. (See Lamb’s VDARE article, “The Leftward Course Of Human Events.“)

The Human Events censor seems to have been motivated to expunge statements implying extreme groveling by Biden, as in his ridiculous statement “Progress occurs in the Middle East when everyone knows there is simply no space between the United States and Israel.” Of course, the opposite is the case. No space means that Israel can stall peace talks forever without having to worry that the US will do anything about it. Biden should have a special place in George Orwell’s Hall of Fame.

The censor also expunged the most egregious examples where Israel has demonstrated quite clearly that it has always pursued its own interests even when they conflict with US interests — not only in the USS Liberty case, but also stealing uranium during the JFK administration, transferring US technology to China, and spying on the US. (Buchanan was being kind by only mentioning Pollard; there are many more examples; see here and here.) The Israeli policy of ethnic cleansing on the West Bank and Jerusalem is therefore part of a long list of areas where Israel refuses to modify its goals by listening to its poodle. Why should it? Nobody cares what poodles think.

The following is Buchanan’s entire column with the censored parts underlined.

Actually, Joe set himself up. From the moment he set foot on Israeli soil, our vice president was in full pander mode.

First, he headed to Yad Vashem memorial, where he put on a yarmulke and declared Israel “a central bolt in our existence.”

“For world Jewry,” Joe went on, presumably including 5 million Americans, “Israel is the heart. … Israel is the light. … Israel is the hope.”

Meeting Shimon Peres the next day, Joe confessed that when he first visited at age 29, “Israel captured my heart.”

In Peres’ guestbook, he wrote, “The bond between our two nations has been and remains unshakeable.”

He then told Peres and the world, “There is absolutely no space between the United States and Israel when it comes to Israel’s security.”

As Peres spoke, Biden took notes. When Peres called him “a friend,” Joe gushed, “It’s good to be home.”

Even at AIPAC, they must have been gagging.

Walking around the corner to Prime Minister Netanyahu’s office, Joe called him by his nickname, “Bibi,” declared him a “real” friend and said the U.S. relationship with Israel “has been and will continue to be the centerpiece of our policy.”

Then the sandbag hit.

Interior Minister Eli Yishai announced construction of 1,600 new apartment units in Arab East Jerusalem. Stunned and humiliated, Biden issued a statement saying he “condemned” the decision.

He then retaliated by coming late to dinner at Bibi’s house.

Netanyahu has apologized for the timing, but they are going ahead with the apartments. What are the Americans going to do about it? At this point, nothing but bluster.

Indeed, a day later, at Tel Aviv University, Joe was back at it: “(T)he U.S. has no better friend … than Israel.”

On his departure for Jordan, Ha’aretz reported that Israel plans to build 50,000 new homes in East Jerusalem over the next few years.

Biden may feel he was played for a fool, and Americans may feel jilted, but we got what grovelers deserve. And if we wish to understand why the Arabs who once respected us now seem contemptuous of us, consider that battered-spouse response to a public slap across the face.

Consider also the most remarkable statement of Biden’s first 24 hours.

“Progress occurs in the Middle East when everyone knows there is simply no space between the United States and Israel.”

Biden is saying we are a more effective force for Mideast peace in a region where Arabs outnumber Israelis 50 to one if everyone knows we sing from the same song sheet as Israel and have no policy independent of Israel’s.

How can America be seen as an honest broker between Arabs and Israelis if there is “no space” between America and Israel?

Even with the closest ally in our history, Britain in World War II, there was space between Winston Churchill and FDR on where to invade — North Africa, Italy, France, the Balkans? — whether to beat Stalin to Berlin, Prague and Vienna, who should be supreme allied commander, even whether the British Empire should survive.

Israel keeps its own interests foremost in mind, and when these dictate actions inimical to U.S. interests, Israel acts unilaterally. David Ben-Gurion did not seek Dwight Eisenhower’s permission to attack Egypt in collusion with the French and British in 1956, enraging Ike.

Israel did not consult JFK on whether it could steal enriched uranium from the NUMEC plant in Pennsylvania for its atom bomb program.

Israel did not consult us on whether it could attack the USS Liberty in the Six-Day War, or suborn Jonathan Pollard to loot our security secrets, or transfer our weapons technology to China. They went ahead and did it, knowing the Americans would swallow hard and take it.

Ehud Olmert did not consult President-elect Obama on whether to launch a war on Gaza and kill 1,400 Palestinians. Nor did Netanyahu consult us before Mossad took down the Hamas minister in Dubai.

What Netanyahu and Yishai are telling Obama with their decision to keep building on occupied land is, “When it comes to East Jerusalem and the West Bank, we decide, not you.”

And if Netanyahu has jolted Joe and others out of their romantic reveries about Israel, good. At least now we no longer see as through a glass darkly.

Israeli and U.S. interests often run parallel, but they are not the same. Israel is concerned with a neighborhood. We are concerned with a world of 300 million Arabs and a billion Muslims. Our policies cannot be the same.

If they are, we will end up with all of Israel’s enemies, who are legion, and only Israel’s friends, who are few.

And if our policy and Israel’s are one and the same, the Arab perception will be what it is today — that America cannot stand up to Israel, even when her national interests command it.

Joe’s performance before he got the wet mitten across the face only underscored the point: The mighty superpower is a poodle of Israel.

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More on the frankfort school of mind kontrol & brain was

Post#4 » Mon Oct 11, 2010 2:38 pm

Adorno as Critic: Celebrating the Socially Destructive Force of Music
http://www.theoccidentalobserver.net/au ... ornoI.html
Elizabeth Whitcombe

August 28, 2009

The Frankfurt School was a group of predominantly Jewish intellectuals associated with the Institute for Social Research. It originated during the Weimar period in Germany, and became a bastion of the cultural left. With the rise of National Socialism, the Frankfurt School was closed by the German government, and many of its members emigrated to America.

Theodor Adorno was the Frankfurt School's music critic (as well as the first author of The Authoritarian Personality, probably the best known of the Frankfurt School works). He looked at music like a recording engineer looks at music. But the most important thing is that Adorno used music psychology as a revolutionary tool.

Adorno understood what qualities make music intellectually challenging and what qualities make music “popular” or non-intellectual. He asserted that intellectual music was best suited for bringing about revolution. Why? Because he thought that the revolution would begin in the elite strata of society and work its way down to the masses — that it would be a top-down event. As a result, he thought it was important that the elite world of classical music turn its back on the traditional high culture of the West. (He was wrong: As discussed below, time would show that popular music actually had greater revolutionary potential.)

Theodor Adorno

Adorno's views were shaped by his times. In the 1920s and 1930s the intellectual elite embraced their ability to re-engineer society. Edward Bernays (nephew of Sigmund Freud) wrote his famous defense of public manipulation, Propaganda, in 1928. Two years before, Charles Diserens applied the same philosophy to music:

Our purpose then is to study the influence of music on the organism. We approach music from the practical rather than the aesthetic standpoint, regarding it as a necessity, a possible means of re-education and human reconstruction for all, rather than a mere subject of unproductive pleasure, or an object for criticism from the learned few. (The Influence of Music on Behavior, Diserens 1926.)

Adorno certainly shared the insights of Diserens and Bernays. He felt that society needed to be remade and music was an excellent way to do that.

Adorno's standard for judging music was its revolutionary potential. During the 1920s, the Frankfurt School aspired to be the intellectual vanguard for Marxism in Germany. According to their theory, the First World War should have precipitated a European socialist revolution, but this didn't happen. The German middle class collectively rejected international socialism after WWI. This was an intellectual slap in the face for Adorno and his colleagues.

The Frankfurters blamed Western Culture for brainwashing people against their brand of socialism. Western culture would need to go. Critical Theory was the Frankfurters' contribution in the war against the Western middle class, and Adorno was its drummer boy.

Adorno's strategy took a page out of Plato's Republic: Innovations in music presage innovations in culture. He wanted to find a type of music that would disrupt the bourgeois way of life and reshape the West in his own image. (See his "Why is the New Art so Difficult to Understand?")

Which composers did Adorno find revolutionary enough? The later Beethoven, Mahler and Schoenberg. On the other hand, Wagner was both loved and hated.

Adorno liked Beethoven because his later work broke musical norms — it avoided “harmonious synthesis” and had a destructive violence that previous works lacked ("Late Style in Beethoven," 1937). However, works like Missa Solemnis — a choral piece celebrating Christ — were “neutralized” by social acceptability ("Alienated Masterpiece: The Missa Solemnis," 1959). This negative stance toward a Christian religious work is doubtless a reflection of the hostility of the Frankfurt School intellectuals toward Christianity which they saw as a as a conservative unifying force in society.

According to Adorno, Beethoven's later works, which were composed after he was deaf, offered tantalizing glimpses of revolutionary changes to come. To get a better idea of what was different about this music, let's turn to another critic.

In What is Art?, Leo Tolstoy gives a damning account of Beethoven's later work. According to Tolstoy, Beethoven's later innovations are alienating and no longer speak to the common man. They are “totally contrived, unfinished and therefore often meaningless, musically incomprehensible works.”

Tolstoy claims that Beethoven's later music typifies the disconnect between the upper classes and the people who worked the land. (Bear in mind that Tolstoy was a Russian.) In Tolstoy's view, Beethoven's later work is immoral art, because the people who ultimately paid for it (the laboring classes) couldn't enjoy it. By cultivating a taste for the later Beethoven, the aristocracy was disconnecting itself from the little people. Such art tears at the fabric of society. Good art, to Tolstoy, upholds Christian values and can also speak to the people that sacrificed for it. It brings society together in an ennobling way.

For the Frankfurt School, the view of society as an organic, harmonious whole with cooperation among the social classes would smack of National Socialism and consequently be the epitome of evil. It is not surprising therefore, that Adorno admired the late Beethoven.

Gustav Mahler was the next link in Adorno's revolutionary chain. A coreligionist of Adorno, he was famous for using the sounds of whips and hammers in his work. Adorno says that in Mahler's compositions “The underworld of music is mobilized against the disappearing world of the starry heavens in order for the latter to be moved and to be a corporeal presence among humankind” ("Mahler Today," 1930). The “starry heavens” represents the ossified Viennese music establishment, which Adorno believed should to be brought back to earth in the service of revolutionary activism.

"Mahler's ecclesia militans is a salvation army, better than the real thing — not moderated in a petit-bourgeois way, not retrospectively proselytizing, but ready and willing to summon the oppressed into proper battle for the things of which they have been robbed and which they, alone, are still capable of achieving.” ("Mahler Today," 1930) To Adorno, the “hero is the deserter” in Mahler's symphonies ("Marginalia on Mahler," 1936).

Adorno claimed that the bourgeois musical world was repressing Mahler's work because Mahler shunned “moderate peacefulness.” In Adorno's words: “The genuine significance of Mahler that can be discovered for today lies in the very violence with which he broke out of the same musical space that today wants to forget him” (:Mahler Today," 1930).

Adorno pairs the work of Mahler and Schoenberg — both rejected by the conservative forces of the status quo: “Whole groups of formulae are common to the fight against Schoenberg and against Mahler — the Jewish intellectual whose deracinated intellect ruins oh-so-beneficent Nature; the despoiler of venerably traditional musical goods.” Ultimately, Adorno interprets Mahler as striving toward “the end of the order that bore the sonata” — the end of traditional European high culture.

This, of course, is an anti-Jewish stereotype that was common in Europe beginning in the 19th century: Whether or not they converted to Christianity, Jewish intellectuals were seen as subverting European culture, shattering the social cohesiveness of the society, and mocking and defying social conventions (See Chapter 2 of Kevin MacDonald's Separation and Its Discontents, p. 51ff). Adorno, himself a Jewish intellectual (although far from deracinated), naturally sympathizes with this stance. Indeed, the Frankfurt School generally is considered part of this anti-Western tradition — precisely the reason that the Frankfurt School was exiled from National Socialist Germany.

Adorno's views on Richard Wagner are strongly colored by the fact that Wagner was idealized in Germany during the National Socialist period. To Adorno, Wagner is the would-be revolutionary composer who tries and fails. In attempting to break out of the thematic melody form, he simply ends up repeating fragments.

Richard Wagner

But what really bothered Adorno about Wagner is the connection to National Socialism. Although Wagner was dead before Hitler was conceived, Adorno thought that one couldn't have Wagner without National Socialism. In every crowd applauding a Wagnerian work there lurks “the old virulent evil” which Adorno calls “demagogy” ("Wagner's Relevance for Today," 1963).

Adorno believed that Wagner's work is “proselytizing” and “collective-narcissistic” — clearly pejorative terms. Adorno’s complaint about the “collective-narcissistic” quality of Wagner’s music is really a complaint that Wagner’s music appeals to deep emotions of group cohesion. Like the Germanic myths that his music was often based on, Wagner’s music evokes the deepest passions of ethnic collectivism and ethnic pride. In Adorno’s view, such emotions are nothing more that collective narcissism, at least partly because a strong sense of German ethnic pride tends to view Jews as outsiders — as “the other.”

It is not surprising that Wagner was by far the most popular composer during the National Socialist period. It is also not surprising that Adorno, as a self-consciously Jewish intellectual, would find such music abhorrent. One wonders if he would have similarly considered the Israeli national anthem as an expression of collective narcissism.

Adorno could never quite shake off Wagner's greatness. He found Wagner's music to be erotically free, so he figured there must be something “right-wing, petit bourgeois” about opposing the composer. In the age of psychoanalysis, no Jewish intellectual would want to appear to be anti-erotic. Adorno’s solution was to claim that Wagner's greatest works are the ones that the public doesn't like ("Wagner's Relevance for Today," 1963). This was clearly an attempt to have his cake and eat it too: If the public was deeply moved by Wagner, it was a sign that Wagner was appealing to emotions of ethnic cohesion. The only safe works of Wagner are those that don’t result in such emotions.

In the end, Adorno falls on the side of disliking Wagner because his music reinforces the status quo. And of course, where Wagner’s music promotes ethno-nationalism, the powers that be must intervene.

Arnold Schoenberg, whose “intellectualism is legend,” was Adorno's ideal revolutionary composer ("Toward and Understanding of Schoenberg" 1955/1967). Adorno ranks Schoenberg with Shakespeare and Michelangelo: He is a god in the art world. Schoenberg had a strong Jewish identity and was a Zionist (Klara Moricz, Jewish Identities: Nationalism, Racism and Utopianism in Twentieth Century Music).

Schoenberg wrote atonal music, meaning that it was designed to defy traditional musical forms and heuristic expectations. It takes a musically trained person to appreciate just how well designed the discord is; but even for musicians listening to Schoenberg is hard work. Schoenberg's music is a curiosity to composers; much like how an unusually diseased organ in formaldehyde is a curiosity to medical professors. As a result, Schoenberg's music was never popular and Adorno was bitter about this.

Music that meets our ears' expectations tends to be pleasurable. Adorno recognized that beautiful music has a pacifying effect and pacification was at odds with his political goals — at least the goals he held in pre-WWII Germany. This is why Adorno had such good things to say about Schoenberg.

The common characteristic these four composers shared was that they wrote music which challenged the listener's expectations to varying degrees. Varying degrees is the important distinction here.

Some of the most beautiful music is that which teases our expectations. Prof. David Huron of Ohio State University wrote a phenomenal book in 2006 called Sweet Anticipation: Music and the Psychology of Expectation. Huron offers an explanation of why discord falling into harmony is beautiful and gives us a pleasurable feeling.

But when unpredictability is taken too far, music becomes discordant and ugly. It leaves the listener feeling dissatisfied and dislocated. Adorno believed that these feelings were necessary to jolt people into thinking and (naturally!) joining his revolutionary cause.

Adorno applied his revolutionary dislike of predictability to technology also. He disliked radio and some recording technology because he thought it made music sound flatter — more like pop and jazz ("The Radio Symphony," 1941). Adorno hated big-band jazz because he felt it was not destructive enough to Western culture: It satisfied erotic urges in a socially tolerated way. Truly revolutionary music shouldn't waste energy like jazz did.

Schoenberg — with his awkward and unappealing music — was supposed to light our way to the future. He didn't. Adorno had conflated intellectualism with Frankfurt School politics — the two do not go hand in hand. To really reach the masses, what the Frankfurt movement needed wasn't intellectualism, but advertising power. Adorno's initial misidentification of effective revolutionary music would be a useful lesson to other propagandists.

Apart from a few aesthetes (such as small coteries of Schoenberg devotees), effective revolutionary music works with our expectations of beauty, not against them. Effective revolutionary melodies should be easy to follow and have strong beats — like most popular music. In his essay "On Popular Music," Adorno relates the open secret of what makes “hit” music: standardization. What he describes are tunes that play to our most basic musical expectations and heuristics, while erring on the side of simplicity.

The music is super-predictable and encourages mindless listening: “The forms of hit songs are so strictly standardized, down to the number of measures and exact duration, that no specific form appears in any particular piece” ("On the Fetish-Character in Music," 1938). Adorno used this phrase to describe big-band jazz, but he might as well be describing pop music today: The Beatles, The Spice Girls, The Jackson Five — the list goes on.

Adorno understood how to make effective advertising music or “popular music.” He understood that better than anyone else in his day, probably. But Adorno's tastes were elitist. He would be embarrassed and ashamed to create music that he felt was as mindless as big-band jazz. Adorno wanted to hobnob in the rarified air of über-educated musical creators.

Adorno didn't like the commonness of pop music; he wanted to believe that his revolution was somehow more intellectual than that. The notion that Frankfurt ideas would be pushed by pop songs — the musical equivalent of a girl in a bikini advertizing beer or a sports car — would be repugnant to him.

Repugnant or not, advertizing works. Composers like Beethoven and Wagner understood how to play with our listening expectations and create something meaningful at the same time. They were true master composers. The shock value of Mahler or the contrived intellectualism of Schoenberg do not rate in comparison — and this is reflected in their relative popularity today.

Adorno never got over his dislike of popular music. He always wanted to believe that somehow revolutionary people would overcome their evolutionarily-determined listening preferences. But Nature always wins in the end.

And if Adorno wanted a successful Frankfurt-style revolution, he would have to work with the tools Nature provided. Enter Atlantic Records

To be continued.

Elizabeth Whitcombe (email her) is a graduate of MIT in Economics with a concentration in International Economics. She is a financial analyst and free-lance writer living in New York City.

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