Marxist Minstrels - The Beatles
February 9, 2014
On the 50th anniversary of the "British i.e. Illuminati invasion,"
the world is feting the fab four.
Instead, we revisit evangelist David Noebel who in 1965 had
the discernment to recognize the Beatles' perverse influence.
We look at Noebel through the eyes of a Leftist who
ridicules him as a right-wing bigot and "red baiter,"
a typical Communist tactic. However, I believe Noebel
was definitely on the right track.
Popular music is a weapon of Illuminati mind control.
See: David Richards The Beatles - Illuminati Mind Controllers
Makow - Bankers Were Behind the "Counter" Culture
"Noebel is compelling because he's intelligent, coherent, and well-researched, despite being absolutely paranoid and utterly mad."
(Beatles ridicule opposition to abortion)
The Beatles Want to Sexually Hypnotize You Into Communism
If you're like me, you can't resist a good piece of moral panic red-baiting propaganda, especially when it's directed at a social phenomenon that seems so chaste by today's standards. As luck might have it, I recently came across the 1974 opus, The Marxist Minstrels: A Handbook on Communist Subversion of Music, by the good Reverend David A. Noebel.
Evangelical tracts denouncing rock 'n' roll, especially as related to either homosexuality or "race mixing," aren't hard to find if you scour antique shops in middle America, but as something of a connoisseur of the genre, I have yet to find a piece of literature that so succinctly combines the collective fears of old, white, crazy, Christian dudes.
David Noebel, ordained in 1961, started his illustrious career with the above pamphlet, Communism, Hypnotism, and The Beatles. He saw the rise of Beatlemania as the result of Communist indoctrination via hypnosis (yup, just like the title), a thesis he developed more thoroughly in his 1964 book, Rhythm, Riots, and Revolution: An Analysis of the Communist Use of Music, the Communist Master Music Plan. The book transitioned from The Beatles to folk artists, focusing on Bob Dylan, his colleagues, and their earlier influences. This is at least slightly more understandable, when one considers the political leanings of the folk movement, frequently with explicit anti-racist, pro-labor lyrics.
The Marxist Minstrels: A Handbook on Communist Subversion of Music however, synthesizes all of his previous work, citing children's records, folk, and rock 'n' roll as being part and parcel to some elaborate integrationist, free-love, Communist conspiracy.
(left, liberal dupes can't believe that Communism is Satanism)
As a rock 'n' roll propaganda collector, I'm used to trudging through a lot of this stuff, and the majority of it is incoherent ramblings--the sort of thing you'd read in a madman's personal manifesto. Noebel is compelling because he's intelligent, coherent, and well-researched, despite being absolutely paranoid and utterly mad. Aside from some inconsistent use of the Oxford Comma, he has a clear, if discursive thesis: rock 'n' roll is turning kids into gay, Communist, miscegenators.
Some of his "evidence" is fascinating. For example, Alan Freed's "payola scandal"--who was paying him to play all those rock 'n' roll records to unsuspecting teenagers? Communist record companies invade the airwaves by bribery, infecting the youth with music that is ""un-Christian, mentally unsettling, revolutionary and a medium for promiscuity."
He cites psychological studies, sociological statistics, numerology, etc. to scientifically "prove" the moral degradation incited by popular music, causing everything from sky-rocketing "illegitimate" birth rates to sexual rioting. Lots of sexual rioting. The appendices are incredibly dense and well-cited.
What follows his strange assessment of rock 'n' roll is an (actually, semi-accurate) account of the American Left, including some background of the American Communist Party and Student Nonviolent Coordinating Committee (SNCC).
Then of course, Noebel posits that folk artists were inspiring the youth to instigate a race war. He believed acoustic musicians like Malvina Reynolds (her "Little Boxes" is the theme music to Weeds) and Pete Seeger were instructing white students to join with "radical groups of Negro racists" so that they might revolt and achieve racial dominance in America. The weirdest part of all this is that by 1974, integration was (at least, on paper) complete.
The folk artists who were most explicitly leftist or Communist weren't a particular focus of pop culture, The Beatles had already long been broken up, and he never quite explains how these two very distinct fan bases are somehow connected (except that they're obviously both very Communist). One can only imagine the lovely psychosis that The MC5 would have brought him.
Noebel is still living today, and I recommend checking out his extensive collection of YouTube videos and blog, if you're looking for a laugh. These days, he's much more on the "Obama's a Socialist" train and decrying "Warmism" (Noebel's evocative name for climate change) than he is into denouncing rock 'n' roll. Hell, even Paul Ryan loves Rage Against the Machine.
Still, his older words bring an odd comfort, when we read his treatise on rock 'n' roll, comparing it to a children's record that supposedly contained subliminal messages only audible when the record is played in reverse; "the noise that many of our youth call music is analogous to the story tape played backwards. It is invigorating, vulgarizing, and orgiastic. It is destroying our youth's ability to relax, reflect, study, pray, and meditate, and is in fact preparing them for riot, civil disobedience, and revolution." Dear god, I hope so.
YouTube - David Noebel on Bob Dylan and Joan Baez
LC Vincent- Does Conspiracy extend to Musical Scale?
Monica -- Modern Music = Emotional Engineering
Makow - Rock Music's Satanic Message
also by Noebel, A Handbook on Communist Subversion of Music
First Comment by Dan:
President Kennedy was murdered two months after my seventh birthday. The Beatles were introduced on the Ed Sullivan Show about two months later.
I retain cinematographic recall of those events as if they were yesterday. I would be an old man before I'd realize that the children were traumatized first by the removal of prayer from public school, Cuban Missile Crisis in October 1962, the assassination a year later. The breakdown of faith, security, and leadership was too strategic to be coincidental. In the mind of the 60's children God and the President were killed, and the Beatles came to save us.
It must be understood that the media complex was already so tight that anyone trying to warn us like Noebel was jammed. Children's "church" was already television and LP records, and pulp magazines.
Who needs to prove the messages were subliminal? Lennon openly blasphemed Jesus Christ, saying the Beatles were more famous than Jesus very early on - within the first year of their arrival. "Beatlemania" was hype. Their costumes and famous hairstyles were created by their homosexual handler Brian Epstein. The appearance on the pretend-'Conservative' Ed Sullivan show sold them as clean and harmless. The gay apparel and faggy haircuts were excused by them being "foreigners". Almost immediately they took youth on a 'magickal mystery tour' to promiscuity and drugs.
The original meaning of "paranoia" before Freud got hold of it is "the ability to link events that are seemingly unconnected". The reason the first people to see harm in the Beatles were fundamentalist Christians from the boonies is he was looking at the effect their "works" were having on youth, instead of their clownish appearance and toothpaste smiles. I remember one old lady back then warning that the Beatles made good girls "boy crazy".
The problem was such people weren't rich or even well educated. They were 'rubes', prone to poor grammar and a hillbilly accent.
It would be another thirty years before some of the victims of the 60's Psyops - people who'd been caught up in the dope, sex, and abortion "lifestyle" but had the Phd and the research and writing skills to vindicated the forgotten souls who tried to warn us. It turns out that the entire "Peace Love Revolution" was no more spontaneous "evolution of the species" than Feminism or Communism. What the BEATLES really were and what was behind them is far too vast to begin in this comment. I'll leave you with this audio interview on the creation of the Beatles as a secret project of the Tavistock Institute. http://www.youtube.com/watch?v=kDELeIgYpQc
Thanks to George for alerting me to Noebel!
What a strange article! Noebel's book shows the best intentions but sloppy scholarship. I (baby boomer) found this on reading it many years ago. Thus it is with most evangelical criticism of cultural decadence -- perfect intentions, mediocre research, some fine insights nevertheless. Noebel's material about record companies conniving to ruin children's morale with sad songs is actually explosive if true. Anon writes a jaded, mixed pro/con commentary -- more ironies.
For anybody willing to accept the full scope of Jewish supremacy, the means by which rock, pop and folk were dragged ever leftward is NO mystery. Already in 1920 Henry Ford's "The International Jew" was decrying Jews' takeover of the popular music industry and their pulling it into the moral/cultural gutter. From the suggestiveness of 1905's ditty In My Merry Oldsmobile to Carly Simon's often lewd output to today's Grammy show is a clear, unbroken tidal wave. Popular music is completely dependent on media and management moguls, producers and publishers, and everybody knows who that means.
The abovementioned Oldsmobile song, so redolent of pre-Kosher America, was composed by "Gus Edwards" -- but what do you know, he was born a Simon too. (In Inowrocław, East Europe. Moved age 7 to Brooklyn, NY. Sound familiar?)
Turn over every rock in rock and there's a Jew, including lots of top performers nobody would expect - Ringo and Lennon included, in my opinion. In the Beatles' bearded years Johnny even dressed and grimaced like a rabbi in group photos. How about the Beatles' song publisher Dick James? He of the pristine English-sounding name was born Leon Isaac Vapnick.
Having cursed Lennon for many years I've come to see he was realer than met the eye, especially in his last years. His death was one of the most obvious conspiracy eruptions, occurring almost certainly because he, like (UGH!) Michael Jackson and some others, was seeing how things really work and starting to talk.
Sure, I love the beauty and creativity of their music and epoch while decrying its fatal evils. I was no less thrilled than anybody with them as a kid. Touch my Doobies and Eagles CD and you die! But alas, like everything that swims in a sea of decadence, it's all decadent in the extreme, like the evil beauty of a mushroom cloud.
To do it right, we should have all lived like Mennonites. As our civilization finally crashes to earth, we've got some groovy CDs to kill the pain.