Jewish control of the music industry
So let us think about it. If you were them, what would you think would be the most valuable industries to control in order to brainwash the world as a whole, besides controlling the banks and the money flow? Well, that would be the Media, wouldn’t it? And with Media I mean not only the TV News and the newspapers. With Media I also mean the movie industry, the art industry and the music industry. With other words; every media that can reach millions of people at once.
If the Illuminati did not think this way, they would be very stupid, and you can blame them for a lot of things, but they are not stupid. So therefore, we have to assume they own the music and movie industries as well, right? At least it makes sense. And if they own these industries, do you think they would allow true rebels to influence the world population, unless of course, when it on occasion suits their Agenda?
The Jewish Owned Media
So now we have logically figured out that the art industries are owned by the Illuminati Mafia, which consists of the Talmudic Jews and their puppets. So far, this is only assumptions. How can we prove that the art industry is owned by those same people?
This is not hard to do. It only takes a few minutes of research and the pieces come together. Take a look at the following; here below is a list of the seven major players of the Media. And guess what? They are all Jews.
Today, seven Jewish Americans run the vast majority of US television networks, the printed press, the Hollywood movie industry, the book publishing industry, and the recording industry. Most of these industries are bundled into huge media conglomerates run by the following seven individuals:
Gerald Levin, CEO and Director of AOL Time Warner
Michael Eisner, Chairman and CEO of the Walt Disney Company
Edgar Bronfman, Sr., Chairman of Seagram Company Ltd 
Edgar Bronfman, Jr, President and CEO of Seagram Company Ltd and head of Universal Studios 
Sumner Redstone, Chairman and CEO of Viacom, Inc
Dennis Dammerman, Vice Chairman of General Electric
Peter Chernin, President and Co-COO of News Corporation Limited
Those seven Jewish men collectively control ABC, NBC, CBS, the Turner Broadcasting System, CNN, MTV, Universal Studios, MCA Records, Geffen Records, DGC Records, GRP Records, Rising Tide Records, Curb/Universal Records, and Interscope Records.
Quite a few larger Independent Newspapers are owned by Jewish interests as well. An example is media mogul Samuel I. “Si” Newhouse, who owns two dozen daily newspapers from Staten Island to Oregon, plus the Sunday supplement Parade; the Conde Nast collection of magazines, including Vogue, The New Yorker, Vanity Fair, Allure, GQ, and Self; the publishing firms of Random House, Knopf, Crown, and Ballantine, among other imprints; and cable franchises with over one million subscribers.”
If Michael Eisner could depart Disney tomorrow, the company will remain in the hands of Shamrock Holdings, whose principal office is now located in Israel”.
The Entertainment Industry – Dominated by Jews
Now we know for a fact that the major Entertainment Industries, the ones that count, are owned by Jews, exclusively, but it doesn’t stop there.
The Entertainment Industry (which I from hereon out for simplicity will call the Industry, and by that I mean the Mainstream Media, the Movie Industry, the Music Industry and the Art Industry, if not otherwise specified) seems to favor Jewish artists, producers and managers. Behind most successful rock- or movie star is a Jew, and a large percentage of artists are Jewish as well.  This is particularly interesting if we ponder that the Jewish world population is just a fragment of the population as a whole. According to a Jewish website, Judaism 101, there are approximately 13-14 million Jews in the world, compared to a world population of around 6 billion souls.
As we can see if we go to Answers.com, concentrating only on American musicians, many of the most influential musicians in modern history have been Jewish:
David Lee Roth
Sammy Davis, Jr.
Ramblin’ Jack Elliott
Joe McDonald (Country Joe & the Fish)
Robbie Krieger (The Doors)
Max Weinberg (Bruce Springsteen’s E-Street Band)
Roy Bittan (Bruce Springsteen’s E-Street Band)
Slash (Guns & Roses)
Gene Simmons and Paul Stanley (KISS)
Cass Elliot ( The Mamas and the Papas)
Leslie West (Mountain)
Mike Bloomfield (Paul Butterfield Band and guitarist for Bob Dylan)
Peter Yarrow (Peter, Paul & Mary)
Joey Ramone (The Ramones)
Jakob Dylan (The Wallflowers)
Marc Knopfler (Dire Straits)
Marc Bolan (T-Rex)
Donovan P. Leitch (Donovan)
This is just the tip of the iceberg; the list goes on and on. Then if you include classical musicians, jazz musicians and film producers, the list will be very long. To further prove my point, here is a statement from Leonard Bernstein’s (world leading Jewish conductor) biographer, Joan Peyser:
“The more one knows about Bernstein, the more complicated the portrait is of him as a Jew. Capable of working productively with anti-Semites, he still holds a soft spot in his heart for fellow Jews, whom he says he finds superior to all others. ‘He is so adamant about music being Jewish,’ [conductor and composer Gunther Schuller says]. ‘It is important to him that a composer is a Jew, that a performer is a Jew. He told me that Triplum, my composition, has a Jewish soul. That is meant as a compliment. I am not a Jew. When Lenny says, ‘You can almost be Jewish,’ that is considered by him to be one of the most supreme of compliments.'” [PEYSER, J., 1987, p. 409] 
Jazz music in particular was dominated by Jewish artists to the extent that almost all famous jazz musicians of its time were Jews. The Jewish Tin Pan Alley monopoly of the music business was solid for decades. As H.F. Mooney notes:
“By 1941, the virtual monopoly of the ASCAP (American Society of Composers Authors, and Publishers, organized in 1914), which had practically protected New York’s ascendancy in the music market, was broken by legal judgment. The consequent opening of broadcasting and recording channels to non-ASCAP composers and publishers, many of them unknowns outside the conventional musical establishment of Tin Pan Alley … marked the end of an era of increasingly urbane New York composers. These had been heavily Jewish … Such New York Jews as Harold Arlen, George and Ira Gershwin, Jerome Kern, Vernon Duke (ne Dukelsky), Herman Hupfeld and Vincent Youmans had produced a pensive music of finesse and polish, often using minor strains in the cantorial tradition. Their melodic concepts influenced ‘white’ jazz instrumentalists — themselves frequently Jewish — flowing with increasing facility through plaintive but delicately restrained saxophones from Benny Kreuger in the early 1920s through Frank Trumbaujer to Stan Getz; and through the arabesque clarinets of Benny Goodman and Artie Shaw.” [MOONEY, H. F., 1972, p p. 258-259] 
Jews were also prominent in the overseeing of the Black community’s jazz life, including the control of musical clubs in Black neighborhoods in a variety of American cities. “The invasion of the Black community by organized crime lords with connections to downtown money,” notes Ted Vincent, “was certainly the most sensational contribution to the loss of Black oversight of neighborhood dance halls and theatres.” [VINCENT, p. 176] 
In addition, we have the “closet Jews”, meaning those who have changed their names to hide their Jewish origins for different reasons. However, if the last name does not appear to be Jewish, the first name may be a clue; names such as David, Jakob, Samuel, Joseph etc. It is not that Jewish artists are a majority in the Industry, but there is an overwhelming number of them in top positions, where they can influence an enormous amount of people, and those who are not Jewish have to adjust to Jewish laws and regulations, and also be prepared to be screwed, as we shall see.
Jewish Origins of Rock’n’Roll and Rhythm & Blues
And rock and roll? The Jewish foundation continued. “The most famous and important [rhythm and blues disc jockey],” note Steve Chapple and Reebee Garofalo, “was … Alan Freed, the father of Rock ‘n’ Roll … Freed was credited with co-writing fifteen rock and roll hits including Chuck Berry’s ‘Maybelline,’ but he did little more than promote any of them.” [CHAPPLE, p. 56-57] A biography of Freed notes that “by 1956, there was no bigger name in rock and roll than Freed, except Elvis Presley [who was Jewish as well, editor’s note].” [JACKSON, p. ix] (Another of America’s best known early disc jockeys was also Jewish, Murray the K, aka Murray Kaufman). 
As Syd Nathan, the owner of King Records, once said, “You want to be in the record business? The first thing you learn is that everyone is a liar.” [WADE, p. 60] “The early rhythm and blues companies were run by a fraternity of Jews … They were tough and they were shrewd — some say unscrupulous — and they were alternately loved, despised, respected, and feared. The deep bond of these cultural outsiders prompted one gentile, mild rebuke in his voice, to comment that ‘Yiddish was the second language of the record business.” [COHODAS, N., p. 3-4, 2000] 
There are a number of artists who have been cheated by greedy Jewish Record Companies, owned by Jewish businessmen. Many of those victims have been black, but far from everybody. A few examples of musicians whom have been ripped off by the Jewish Music Industry where some of them filed lawsuits are: Little Richard, Chuck Berry, Howlin’ Wolf, Muddy Waters, Willie Dixon and Bo Diddley. The Rolling Stones once sued their Jewish manager, Allen Klein for $29 million. [SANDFORD, p. 164] Christopher Sandford notes that “By midsummer [Rolling Stones singer Mick] Jagger was unable to mention his manager’s name [Klein] calmly. Later he gave an interview in which he stated, ‘Half the money I’ve made has been stolen. Most artists in show business suffer the same kind of thing… It’s all the hangers-on and parasites. There are very few honest people in the profession.” [SANDFORD, p. 139]
But the Talmud says very distinctly that for a Jew, it is absolutely fine to cheat and lie to a goy (non-Jew) and that you don’t have to pay him wages owed him for work. Here are some passages from this lovely book, which states that Jews are human and non-Jews are not. Non-Jews are nothing but cattle and should be treated as such:
O.K. to Cheat Non-Jews. A Jew need not pay a Gentile (“Cuthean”, which means a non-Jew) the wages owed him for work
– Sanhedrin 57a
“Jews always have to try to deceive Non-Jews”
– Zohar I, 168a
“Every Jew is allowed to use lies and perjury to bring a Non-Jew to ruin”
– Babba Kama 113a
Folk Music in the 60’s
Moving to the Folk Music era of the 1960s, we see that this too was totally Jew dominated. Israel Young ran the Folklore Center in New York’s Greenwich Village in the 1960s. Fred Weintraub owned the well-known Bitter End nightclub. Manny Roth ran Cafe Wha?. Among the prominent Jewish folksingers of the era were Bob Dylan, Phil Ochs, Jack Elliott, Peter Yarrow (of Peter, Paul, and Mary), David Blue (Cohen), and two (Fred Hellerman and Ronnie Gilbert) of the four Weavers. Ballad singer Leonard Cohen had a grandfather who was the first president of the Canadian Jewish Congress. Moe Asch (whose father, Sholem, was “the most widely read Yiddish writer of the twentieth century”) [GOLDSMITH, P., p. 1] headed Folkway Records, the label that released recordings by Woody Guthrie, Pete Seeger (manager: Harold Levanthal), Doc Watson, Black blues artist Leadbelly, Josh White, Black poet Langston Hughes, and ethnic performers from around the world. (Woody Guthrie’s wife, Marjorie Gleenblatt Mazia, was Jewish, and their child, Cathy Ann, was “raised as a Jew.” [POLLAK, O, p. 12])
Guthrie even lived with Marjorie in a Jewish neighborhood in Coney Island. Asch got into the recording business with a connection to David Sarnoff, the eventual head of NBC-RCA. [GOLDSMITH, P., p. 60] A later version of Folkways was Verve/Folkways, which featured Tim Hardin, Richard Havens, and Jewish artists Laura Nyro and Janis Ian. (Nyro’s original name was Nigro, and her name was changed for fear that people might call her “Negro.”) [KING, T., 2000, p. 73]
Bob Dylan is a full-blooded Jew; both his parents were Jewish, and his real name is Robert Zimmerman. The manager who can take most credit for making Dylan known is probably the Jew Albert Grossman, a ruthless businessman with bad reputation. He later became the owner of Bearsville Records.  Grossman helped George Wein [Jew] organize the first Newport Folk Festival, in 1959, a festival which became big in folk music.
It is interesting to see how Bob Dylan surrounds himself with Jewish friends and musicians, such as Allen Ginsberg, Mike Bloomfield, Tiny Tim and Robbie Robertson to name a few. He even nominated Ginsberg to being the greatest poet ever, and has often praised Jewish artists and musicians before non-Jews. The Talmud says it is perfectly okay to cheat and play around with goyim (non-Jews) and rip them off. Dylan is no exception. He stole, cheated and betrayed wherever he could in the beginning of his career to reach the fame he so obsessively desired. He used famous musicians like Joan Baez to boost his career, even had a love affair with her, and then when he didn’t need her anymore, in Talmudic Jewish manner, he abandoned her and married a Jewish woman, Sara Lowndes. Moreover, he stole songs and ideas from other musicians and recorded them as his own. Examples are “Blowing in the Wind”, the special version he recorded of the traditional song “House of the Rising Sun” and “Baby Let Me Follow You Down”. He also borrowed a whole record collection from a person to use as inspiration, without giving it back. Not until the owner, together with a big guy knocked on Dylan’s door to get the record collection back, Dylan returned it, avoiding to get beaten up by smooth talking the tough guy. 
Early in Dylan’s career, “when a girlfriend’s mother challenged his lies and said she thought Zimmerman was his real name, he called her an anti-Semite, as if a mere description of the truth was bigotry.” [RUBIN, p. 94] Dylan, who early in his career hid his Jewish past and made up various lies (he was from Oklahoma, etc.) about his background, nonetheless joined the Jewish fraternity house at the University of Minnesota in 1959, Sigma Alpha Mu. [SCADUTO, p. 26] After becoming rich and famous singing about social justice, in the 1980s, “Dylantologist” A. J. Weberman declared that the famous singer “is an ultra-Zionist. He is doing the tour to raise money for Israel. He has given large sums of money to Israel in the name of Abraham Zimmerman.” [SPITZ, p. 430]
Newsweek and Time each reported that Dylan had indeed donated sums to the Jewish state, and even the far right-wing Jewish Defense League. [SPITZ, p. 407] A biographer, Anthony Scaduto, noted earlier, in 1971, “At this writing, Dylan’s search for personal salvation seems to be coming around full circle, back to the religion of his fathers. Bob has started to study Judaism, and Hebrew. Dylan, who gets so Gemini-enthused about everything, has made several trips to Israel in the last year to ‘sniff the breeze’ as his friends put it. He has reportedly donated some of his funds to help support at least one kibbutz there. Folksinger Theo Bikel [also Jewish, and a Zionist activist] adds: ‘Dylan has told me that Israel appears to be one of the few places left in the world where life has any meaning.’ He has even attended several meetings of the militant Jewish Defense League. The JDL’s head, Meir Kahane, [charged by many, including Jews, as a racist and fascist] will say only that Dylan has ‘come around a couple times to see what we’re all about’ and has promised to donate money to the organization. Dylan refuses to discuss it.” [SCADTO, p. 274]
Another Jewish entrepreneur, Maynard Solomon, headed another prominent folk-oriented record label, Vanguard, which featured Joan Baez, Buffy St. Marie, Eric Anderson, among others. Another folk label in Chicago, Flying Fish, was founded by Bruce Kaplan. Jewish popular musical performers are many and varied, including the Beastie Boys (“widely castigated for glorifying sex and violence”) [ANDERSON, 1991, p. 173], Bette Midler, Billy Joel, Barry Manilow, Randy Newman, Carly Simon (one of the heirs to the Simon-Schuster publishing house fortune), Helen Reddy, Lesley Gore, David Lee Roth of Van Halen, Lou (“Take a Walk on the Wild Side”) Reed, [BELL, I., 6-1-93, p. 12] and Mountain’s Leslie [Weinstein] West. Donald Fagen co-founded Steely Dan. Marty Friedman of Megadeth is Jewish, as is Peter Green of Fleetwood Mac, Marty Balin of Jefferson Airplane, Marc Knopfler of Dire Straits, Paul Stanley (Stanley Eisen) and Gene Simmons (born Chaim Whitz in Haifa, Israel) of Kiss, Perry Farrell (Perry Bernstein; son of a diamond dealer) of Jane’s Addiction, Kevin Dubrow (lead singer of Quiet Riot), Slash of Guns ‘n Roses, Geddy Lee (of Rush — born Gar Lee Weinrib), Eric Bloom (lead singer of Blue Oyster Cult), Robbie Robertson, Warren Zevon, Jeff Beck, Mick Jones (of the Clash), Gavin Rossdale (head of Bush), Jay (Blatt) and the Americans, Marc Bolan of T-Rex, Manfred Mann (Lubowitz), Norman Greenbaum, Phranc (a Jewish lesbian folksinger), and Howard Kaylan and Mark Volman of the Turtles. And on and on. Jewish interest in the subject notes that ukelele-rooted Tiny Tim’s mother was Jewish, Donovan’s mother was Jewish, Cyndi Lauper’s father is Jewish, Country Joe MacDonald’s mother is Jewish, Twisted Sister’s Dee Snider’s father was Jewish and on and on. [JEWHOO, 2000; BOUCHER, G., 4-17-01, p. 62; TAYLOR, L., 12-27-00, p. F5]] Even the 1998 “Eurovision Song Contest winner” — featuring an event watched by 100 million people in 33 countries — was Israeli transsexual Dana International, born Yaran Cohen).
Not Jewish? Want to make it in the music business? Enhance your chances by learning Yiddish:
“Even gentiles learned to salt their language with pinches of Yiddish, the industry’s vernacular. Courtney Love, not long before her own major label debut at Geffen Records, began boning up with the help of Leo Rosten’s The Joys of Yiddish. ‘I’m going to blow the minds of all those shemedricks at the record company,’ Courtney said. She would even sometimes refer to her dispute with Kat [of the all-female band Babes in Toyland] over who was the first to wear a baby-doll dress onstage as ‘that shmatte’ controversy.'” [KARLEN, N., 1994, p. 146]
More Jews: The magazine “Bible” of rock and roll music, Rolling Stone, was founded by Jewish entrepreneur Jann Wenner. Wenner is also “the single most important person behind” Cleveland’s Rock and Roll Hall of Fame and Museum. [HINCKLEY, D., p. 9] Joel Siegel, later prominent as a film critic, was also “TV’s first rock and roll reporter.” [SLEWINSKI, C., 3-23-99, p. 102]
“To my surprise,” writes Jewish author Michael Billig, “song after well-known pop song, revealed itself to ‘Jewish music,’ from [Elvis] Presley to the soft sounds of the Drifters to [producer] Phil Spector. So much of the rebellion-music which I had loved in my youth and which seemed to be a window to a foreign, dangerous world, turned out to be a product of familiar surroundings. Surprise was mixed with delight.” [ARNOT, C., 10-4-2000, p. 6]
The Jews Behind The Beatles
What about the Beatles, the Liverpool group who changed the world with their music? Oh yes, they had close Jewish connections as well. Brian Epstein, their agent/manager and Sid Bernstein, their promoter, were both Jewish.
Brian [Epstein] signed over to Dick James [a music publisher] 50 percent of Lennon and McCartney’s publishing fees for nothing. It made him wealthy beyond imagination in eighteen months.” [BROWN/GAINES, 1983, p. 186] After Epstein‘s death, in 1969 James sold the rights to the Beatles songs from under them. “It was the single most contentious deal arising from the Epstein–James era. “The Beatles were angry at what they regarded as betrayal.” [COLEMAN, p. 306] Marc Elliot notes that James sold “his interest in Northern Songs to the notorious [British Jewish media mogul] Lew Grade, known in the film industry as Low Grade.” [ELLIOT, p. 158] Epstein also had “good communication” with Grade‘s brother, Bernard Delfont, “one of the czars of London show business.” [COLEMAN, p. 245-246]
The landmark 1969 Woodstock Musical Festival was the entrepreneurial investment of four young Jews: Joel Rosenman, John Roberts (heir to a pharmaceutical fortune), Artie Kornfeld, and Michael Lang. The person hired to pull the whole project together was Stanley Goldstein. Mel Laurence (born Melvin Bernard Lachs) was also the Director of Operations for the festival creators, Woodstock Ventures. Bert Cohen, of Concert Hall Publications, soon joined the production team for various tasks. [SPITZ, 1979] The first employee of Woodstock ventures was Rene Levine, a bookkeeper and another Jew, Alex Jaffee, was the company’s accountant. In a book chapter called “Buying Off the Underground,” Joel Rosenman recalls when he and others of the Woodstock Ventures investment team went to Greenwich Village’s East Village Other “counterculture” newspaper to buy them off, guaranteeing that prominent members of that anti-capitalist community wouldn’t cause problems with the economic exploitation of the supposedly anti-materialist Love Generation. Famed radical (and Jewish) agitator Abbie Hoffman demanded $10,000 from Woodstock Ventures, “or else that fucking festival you guys are planning is gonna end up around your ass.” [ROSENMAN/ROBERTS/PILPEL, p. 102].
The disastrous 1999 Woodstock Festival was also headed by Michael Lang, and John Scher. It ended in rioting, vandalism, injuries, arrests, and sexual crimes. [MORSE, S., 7-27-99]
Non-Jewish musical stars, caught in the Judeocentric web of the musical world, often support Jewish/Israeli ethnocentric interests on behalf of their Jewish friends and managers. Among the old Geffen stable, for example, in 2002 a news item noted that Don Henley of the Eagles was “donating the $7,900 from the sale [of his guitar at auction] to the Jewish Federation of Greater Dallas for use in supporting Israel and Jewish organizations.” [TOP FORTY CHARTS, 6-12-02] That same year, the Jewish Week wondered: “What’s one of the world’s greatest rock stars doing at a Jewish benefit dinner? The answer came Monday night when Bono, the voice and wordsmith driving the fabulously popular band U2, became the first rock and roll personality to receive the Humanitarian Laureate Award from the Simon Wiesenthal Center.” [Jewish Week, 11-22-02] (That same year, the Israeli newspaper Ha’aretz noted that the new Wisenthal “tolerance” Center in Jerusalem was built on a Muslim cemetery).
In the rock and roll world which is so heavily Jewish, there are apparently different levels of what is considered to be morally offensive, including the usual admonition: Thou Shalt Not Offend Jews (Others, especially Christianity? — No problem). As Leah Garchik wrote in 2002, “Marilyn Manson reveals in Rolling Stone’s new book ‘Tattoo Nation: Portraits of Celebrity Body Art” that Madonna’s manager, who was thinking of signing Manson, called Manson’s manager to inquire about whether the rocker had a swastika among his many tattoos. ‘Of course not,’ said Manson’s manager. ‘One of the guys in the band is Jewish.’ ‘Oh, OK,’ said Madonna’s manager. ‘We don’t have a problem with the Satanism, but we can’t deal with any kind of Nazism.'” [GARCHIK, L., 11-7-02, p. D14]
The “godfather of punk,” manager and “mastermind” of the seminal “punk” band — the Sex Pistols, was Great Britain’s Malcolm McLaren. He was also the manager of the New York Dolls, Adam Ant, and Boy George. According to Sex Pistol lead singer Johnny Rotten, his manager was “the most evil man alive.” [HARRIS, M., 8-19-94, p. 11; SHAW, D., 12-16-99, p. 5] McLaren “was brought up by his maternal grandmother, Mrs. Corre, a formidable woman from a very rich Sephardic Jewish family.” [BARBER, L., 12-22-91, p. 8] The anarchistic Sex Pistols, notes the London Independent, were “brought into being quite cynically by Malcolm McLaren as an advertising gimmick to promote sales of the fetishistic clothes and other devices designed and sold by himself and Vivienne Westwood.” [GRAHAM-DIXON, 8-19-95, p. 2] (The Ramones are also a candidate for the most influential punk band. The head of the Ramones, Joey Ramone — born Jeffrey Hyman — is also Jewish. ) [TAYLOR, L., 12-27-00, p. F5]
The Jew Howie Klein founded the “punk” rock label 415. Joseph Heller, formerly of Heller-Fischel, booked acts like Styx, the Electric Light Orchestra, Boz Scaggs, and a variety of others. “He represented top-drawer rock talent like Van Morrison, the Guess Who, Marvin Gaye, War, Elton John and Pink Floyd.” [SNYDER, N., 2-19-01] Stretching out as dangerously as possible to make a buck, Heller eventually gravitated towards a relative goldmine in the Black ghetto-based “gangsta rap.” He cofounded Ruthless Records and managed the pioneer rap group NWA (Niggaz With Attitude) from early in their careers. The musical genre of gangsta rap, notes Jory Farr, “thrives on misogyny, as well as homophobic and race-baiting rage … [It] was the perfect music for [a] lifestyle loaded down … with warnings of betrayal, murder, revenge, and a short life.” [FARR, p. 70]
“I believed that rap would become the most important music of the nineties,” said Heller, “… [But] you can’t sell two million rap records to kids in the inner city. That’s a way to sell 200,000. You have to market it to the white kids.” [FARR, p. 68, 71] Heller hired Ira Selsky as his corporate attorney and an Israeli-born security chief named Michael Klein to ward off angry, exploited Blacks who quite literally walked into his office threatening to kill him. Rap star Ice Cube even threatened Heller in one of his recorded songs, prompting the Anti-Defamation League to flag it as anti-Semitic. Ruthless Records released a Jewish rap duo called Blood of Abraham. As Chuck D, the lead vocalist for the Black rap group Public Enemy, noted, “There’s no way to get trained on the seamier elements of the music business being on the street — that element is reserved for boardrooms.” [D, CHUCK, p. 85] Those in Chuck D’s reminiscences about “boardroom” behavior include Lyor Cohen (manager of Rush Productions, and an Israeli); Al Teller, an executive at MCA whose parents died in the Holocaust; Steve Ralbovsky of CBS; Bill Adler (a publicist); and Rick Rubin of Def Jam Records. (Jewish diamond dealer Jacob Arabo has made the news as a favored jewelry merchant to the Black rap crowd that seeks to symbolize wealth and power, or, as the New York Times put it, “the jeweler who gives most of today’s leading rappers their shine.” [CENTURY, p. 1]
So What Does This All Mean?
If you have followed me and read this article so far, at least you must have asked yourself why there are so many Jews in power within the Industry. It can’t be a coincidence. Is it just that Jews are better businessmen than us ‘goyim’? This is what we hear over and over as an explanation to why there are so many Jews in charge of big Businesses. We learn that it is in their blood, and that it is nothing wrong with that.
It is in their blood, alright, that’s for sure. It would all be fine and dandy if these business-minded people played it fair. So why are these Jews in high position (and even ordinary Jewish musicians in some cases) so unreliable, unethical and immoral?
I guess we have already answered that question to some extent. They ARE business-minded and they follow the Talmud! They believe it’s God’s will that they act like this and treat the rest of us like cattle. But which God? Most Jews believe their God is Jehovah, like it says in the Torah (the Old Testament). But that is just the every-day Jew on the street. Like any secret society, Judaism is no exception; you only know what you need to know. If you want to get a clue to who the REAL God in Judaism is, maybe Harold Wallace Rosenthal, a Talmudic Jew, can give you some answers. In the 1970’s, Rosenthal was interviewed by Walter White Jr., and when the interview was over, Mr. White was shaken and nauseated due to what he had just heard Mr. Rosenthal confesses without any remorse. You can read the whole article here, but I warn you – it is very disturbing reading. However, to you whom already know that these people are using the Talmud in their daily life, this doesn’t come as too much of a surprise, although EVERYBODY should read “The Rosenthal Interview”, nonetheless.
You will hear Mr. Rosenthal say that what the average Jew doesn’t know is that the God in Judaism is Lucifer, and that the Jews are Lucifer’s chosen people. Then, on a deeper level, of course, we can discuss who Lucifer really is, but that is subject to other articles, already posted elsewhere on my website.
Anyway, if we agree to that this world is run by a secret organization that we for simplicity call the Illuminati, and there is overwhelming evidence for that, then we know that these people do everything they can to control business, politics, education and entertainment. That is the easiest way to streamline the masses into thinking in certain directions that they want us to think. So to be able to find out who is controlling us, we just follow the money and look at who is running things. To our amazement, we find out that this world is run by Talmudic Jews, whom do everything they can to create a slave society with them in charge over us, the cattle.
Does this sound anti-Semitic? For those who don’t know better and are still buying into the Programming, it might, but if we look a little deeper, two things come to show:
1. There is clear evidence that Jews are running the show, and the truth is the truth. Call it anti-Semitic if you like.
2. The Jews we are talking about are not even Semites! They are all descending from the old Khazar tribes and have nothing to do with the OT Jews and “God’s chosen people”. The Semites are, according to the highly authoritative Oxford Universal Dictionary, 1944 (p. 1838) the people belonging to the race of mankind which includes most of the peoples mentioned in Genesis 10 as descended from Shem, son of Noah, as the Arabs, Hebrews, Assyrians and Arameans, and speaking a Semitic language as their native tongue.
Most people would answer the question whether the modern Jew is of Hebrew or Semitic origin with a clear “yes”! Wrong! Most Jews in modern society have nothing to do with the ancient Hebrews of biblical times. For decades we never thought of even questioning the basic assumption that the modern day Jew is a Semite. 
So why do you think that the Anti Defamation League (ADL) and other “Jewish Protection Organizations” go berserk as soon as anybody mentions the word Jew in a negative context? Is there ANY word in ANY language that is more charged than the word Jew? I don’t know, I haven’t researched that, but wouldn’t be surprised if the answer is ‘no’. And by common sense, where you get the most attacks and most resistance is where the ‘secrets dwell’. Here is something they really want to hide, and they do it by calling those whom are about to find out the truth anti-Semitic. The truth is that the real anti-Semites are the Jews themselves, because they are attacking such people as the Arabs all the time – the real Semites as we saw earlier.
How the Music Industry Works
The way the Industry works has been covered by me in previous articles, like “Mind Control in the Field of Art” and I highly recommend that you read it, and also all other articles I have posted in the “I Sold My Soul to Rock’n’Roll and Mind Control” section of my website. For you who doubted me may now be able to restudy this section with new eyes, and perhaps you will find that it makes more sense.
I will not repeat myself here, due to that I have covered this subject in details in the above articles, but rely on that you do your own further research there and elsewhere too for that matter.
There is no doubt that the Entertainment Industries are run by the Illuminati Talmudic Jews and that their Agenda is clear. The Industries are run by criminals with two main purposes in mind:
1. To make lots of money with whatever methods available. Nothing is holy and murder is accepted, if necessary.
2. To manipulate people into accepting the New World Order and a One World Government. This is done in different overt and covert ways, also covered in the above sections of my website as mentioned under “How the Music Industry Works” here above. Only artists they can control will be promoted and accepted, or artists that they can make a big buck out of and later conform or waste. If dropping them makes them “talk”, or if a ‘bad situation’ is eminent, there is always ‘other means’ to take care of the uncomfortable situation (read John Lennon and 2PAK).
by Wes Penre