Miley Cyrus and Dua Lipa
2,185 words
Dalrymple: Then why am I watching it?
Costanza: Because it’s on TV!
Let’s start with three statements that are in no way, shape or form, related to each other.
1. Narcocorrido artists are sometimes used by Mexican cartels to launder money. Cartel allies in the media and music business will catapult artists to fame to make their success appear legitimate. Dirty cartel money is then presented as legitimate earnings from tickets and music sales. Narcocorrido artists will often play to sold-out, but empty venues as a result.
2. Pop stars like Rita Ora and Dua Lipa are used by the Albanian mafia to launder money. Albanian mafia allies in the media and music business will catapult artists to fame to make their success appear legitimate. Dirty mafia money is then presented as legitimate earnings from tickets and music sales. Rita Ora notoriously claimed that 60,000 people attended her concert in Zadar, Croatia, while footage shows fewer than 9,000 in attendance.
3. Mainstream pop artists’ success is 100% organic.
Well, that’s that, then! Show’s over. Move along people, nothing to see here.
It’s just pop music, right? Sure, it’s a satanic mind virus, produced by unscrupulous hebes and — let me check my notes — dorky Swedes, but surely there’s nothing more sinister about it. It’s crap, but at least not the kind of crap that affects me. I only listen to bands you’ve never heard of. Let the blacks, Jews, and Swedes scam the NPCs out of their money, see if I care.
Wrong.
In the case of performers who are actually fronts for the Mexican cartels or the Albanian mafia, it’s not about the money. It’s about sending a message, whether that message is “El Chapo Guzmán is awesome” or “Albanians are autochthonous in the various areas from where they ethnically cleansed other nations.”
But it’s not even just a message. It’s about presenting dirty money as clean by engaging in a cargo cult of actual music production. Okay, that’s criminal gangs with a greater-scope political agenda, but surely the actual music business is not like that. Those guys are capitalists, right? They’re out to make money by commodifying the degeneracy of our age — making money on the way down, as they say on Wall Street, right?
Please, for fuck’s sake, let the music industry be a known quantity motivated by greed.
It may have been like that in the before-times. Here’s Frank Zappa in an interview:
One thing that did happen in the 60s, was some music of an unusual and experimental nature did get recorded, did get released. The executives of the day were cigar-chomping old guys who looked at the product and said, “I don’t know. Who knows what it is? Record it, stick it out. If it sells, alright!”
We were better off with those guys, than we are with the supposedly hip, young executives, making decisions about what people should hear. The young guys are more conservative and more dangerous to the art form than the old guys with the cigars ever were.
Well, there you have it. Those greedy cigar-chompers — whom from Zappa’s brief imitation in the interview we can surmise were probably Jewish — were genuinely motivated by profit, and were willing to use jungle beats, nepotism, and autistic Swedes to gain profits. And like most profit-oriented businesses, they were willing to brook experimentality as long as the bread and butter of the business trucked along strongly enough to cover operating expenses and then some.
But the young guys weren’t capitalists, or not merely capitalists. They were also curators of public taste. They weren’t there, in capitalist fashion, to offer a product for the masses to consume. They were there to inform public tastes, to shape and mold them. Did they profit from this financially? Probably. Did their enterprises profit? Certainly. Were they profitable? That’s a different question. What does “profitable” mean?
A money-laundering front is a business that profits. It may even be profitable (the best are), but the two categories are different. A front profits regardless of its profitability, which is its ability to turn a profit in an open market. Would the front be profiting if it were a legitimate business? We have no way of knowing. A business that receives constant cash infusions from the criminal requiring money-laundering services has access to capital that a comparable business wouldn’t, which means that a comparable business cannot leverage that capital into better earnings, greater efficiency, greater economies of scale, and all of the other nice things lots of capital makes available to a business.
However, the very idea of an open market is laughable once we realize that the people who run the music industry have never operated in a market where every other actor isn’t of their ethnic and religious group. As the rise of the notorious Rick Rubin shows, it doesn’t matter how good you are, or how good your product is, but who you know. And boy, these people know everyone who is everyone.
So, really, what is profitability in this context? Business is always more about market access than the product, and the ultimate market access is the ability to compel the consumption of your product by force. That’s called being a government enterprise. The second best is to eliminate all your competitors, which is monopolism. The third best is to get together with your buddies and make sure nobody else can enter the market which is oligarchism.
You can buy It’s Okay to Be White: The Best of Greg Johnson here.
But this is Econ 101. We’re beyond this! There’s an even better way to secure market access and market dominance.
The cigar-chomping guys were oligarchs. There were precious few of them and they ruthlessly excluded competitors. Each one of those cigar-chompers would have loved to be a monopolist. Their equally Jewish and managerial equivalents in the Soviet Union ran government enterprises producing music for a literal captive audience. But the hip, young executives who acted as curators of public tastes? They were way beyond mere oligarchy or monopoly. By systematic exclusion and inclusion of artists in the markets, they did not service demand as much as create it by constant repetition before the unwashed masses, as if it were a great boon from above. It wasn’t that the record company was cool because it produced cool music, but the music was cool because it came from the record company. And it didn’t make one bit of difference whether the cool, hip producers colluded with each other or merely shared an idea of cool.
So, in fact, in our opening example, George Costanza is right and the NBC executive is wrong. You don’t watch shows because they’re good. You watch them because they’re on TV. Jerry Seinfeld made millions laying bare the Jewish psyche for the entire world to see. Jews understand very well that it doesn’t matter whether your product is good or bad, but what matters is that you’re in the market, and the best way to be in the market is to be the only game in town.
But circling back to the issue of money laundering.
If Dua Lipa can be inflated to stardom by serving as a money-laundering front for the Albanian mafia, we have to ask ourselves just how much of the music industry is bullshit. Dua Lipa’s rise is like Al Capone’s laundries becoming a Fortune 500 company.
Now, that’s less likely, because laundry is a business with less room for bullshit. Either stains and smells are removed from clothing or not. But in music? Who’s to account for taste, especially manufactured taste? Back in the day, the main boosters and customers of music production houses were radio stations, often owned by these producers’ friends. Certainly, in later days, the owners and operators of those radios were the hip young guys who were concerned with molding the taste of the general public to their liking. Who’s to say that the production houses and radio networks didn’t just impose demand for their product upon an unsuspecting public by the means of repetitive earworms?
And what about music sales? Don’t they mostly go through Apple and Spotify these days? The same Apple that is nothing more than a credit-extension scheme for Braeburn Capital, a hedge fund. Using Apple’s credit to gin up investment capital, Braeburn, a wholly-owned subsidiary of Apple, makes the real money in the financial markets, where money accrues to money. Other companies, ostensibly producing computers, software, or hell, maybe even toilet paper, have similar schemes. How do we know Apple turns a profit on selling music? There’s a lot of people making money out of music, but how many are actually turning a profit on selling music? Or are we back to the good old days of patronage where the way to make money off music — or indeed, any form of art — was to become the court artist of some great aristocrat, or maybe even the king or Pope himself.
Back in the day, the point of music was to provide aesthetic enjoyment to the composer’s patron and to confer to him a degree of prestige that came with the patronage of great music. Assuming the music industry is bullshit from an economic perspective, i.e., it is as much of a money sink as music patronage was for old-time aristocrats, what is the point of the music business? Could it all be money laundering?
Why would the elite launder money? But what if the money is there to represent something else, something that the elite needs to forge, and if it succeeds, it can will into existence? What if the financial success of the big production houses and the sales of their albums and hits and bullshit exists to provide proof positive that their product is genuinely popular. The fact that both sides of the transaction — both buyers and sellers — have a vested interest in making it appear popular is beyond economics. It becomes necessary for the proles to buy the notion that this is popular. So, crap music is made by negroes, hebes, and Swedes, and then incessantly played by radio stations and clubs until it’s so ubiquitous that it’s declared a hit. And then something magical happens.
Because it is declared a hit, it becomes a hit. Most people, bless their hearts, like things because they’re popular. One aspect of this is conformity. But another aspect of it is that anything that is popular in this day and age and doesn’t simultaneously invite elite scorn is something that comes “from above,” as the old commie office workers used to say, something sanctioned by power. By virtue of being the thing sanctioned by power, it is a hit. Normal people genuinely like the things their masters want them to like. Women and weak men seem to externalize their judgment process to the tribal powers, given that their survival depends on not disturbing their consensus.
Once again, Costanza gets it. They’re not watching it because it’s good. They’re watching it because it’s on TV. The trick is that it is good because it is on TV — because for these people, the notion of what is good is indistinguishable from what is on TV.
Why bother with the whole song and dance of having a music industry, then, if we just live in a very roundabout patronage system — or more specifically, a very roundabout system of Soviet music production? But in the real world, systems aren’t designed. They arise out of previous circumstances and their development is governed by facts on the ground. The present system grew out of those hip dudes directing the public’s taste, which itself grew out of the system of Zappa’s cigar chompers who were willing to tolerate experimentally in exchange for profit, which itself grew out of the earlier system of conservatories and state philharmonics handling high art and musical bands handling low art, which grew out of the medieval system of court composers and wandering troubadours.
At the tail end of the history of music production, we see Miley Cyrus and Dua Lipa in duet. One is a front for an evil organization that seeks the destruction of the West, the erosion of cultural norms, the eradication of white people, and the oblivion of all that is good and proper in the world.
The other launders money for the Albanian mafia.
* * *
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34 comments
Thus why I always loved Metallica.
And bands like Black Sabbath.
Not created in a public relations meeting by mucky mucks to sell toothpaste, these men created an original sound and through their talent and drive to be heard, demanded it be taken seriously and dealt with. Such success is organic. “Go against the grain until the end.” 🎶
Damage Inc. is my favorite Metallica song.
Well they definitely fear anything they haven’t personally cultivated. I’m reminded of Xurious. The guy creates electronic music that doesn’t even contain lyrics but youtube felt the need to censor him anyway. Greg did a pretty good interview with him about it here on Counter Currents.
Even as a teen I was not a radio listener. Oh, I heard some of the songs when other people played them (friends who couldn’t be alone in their rooms or do their homework without background noise) but when it was up to me, the radio was off. That hasn’t changed. If I listen to music, it’s because that’s what I’m doing, not as background noise. I don’t need a soundtrack to my life,
Is it just me, or do a lot of these womyn seem to have abnormally long tongues? If I look in the mirror and try to emulate their ridiculous expression or pose, I cannot get my tongue halfway down my chin. Are excessively long tongues the norm, or are these things so sexually jaded by the end of their teens that their mouths and appendages are just stretched out?
By listening to my videogame OSTs and BGMs from 90s cartoons (Batman Beyond is mildly kickin’, if you’re into that sort of thing) I am committing a subversive act. Chiptunes and anime remixes are the last musical bastion of the White Nationalist. You don’t need an orchestra, just a few pieces of gear. In all things – simplify!
Book deals are also a massive front for money laundering.
so is art, the Sotheby’s auctions, all those millions for paintings
In all fairness, modern art is more of a tax evasion scheme than money laundering.
***|| Back in the day, the point of music was to provide aesthetic enjoyment to the composer’s patron and to confer to him a degree of prestige that came with the patronage of great music. ||***
Correct.
The classical musicians of Indian subcontinent flourished with dignity as long as there were Nawabs/Sultans/Padishahs/Shahs to patronize them. Once the courts disbanded, these same esteemed and honored musicians became buskers.
Now their descendants grace the gluttonous gatherings of drug barons, real estate mafiosos, obscenely wealthy white collar criminals, political enforcers, front-men for underground syndicates etc.
Then there are advertising ‘Heads of Ideas’ and third rate movie directors, backed by traffickers and smugglers, who hire them for product promotion or a third rate flick. And they, absolute whores that they have now become, readily oblige and fit their tunes behind this or that nonsense.
Don Arden, father of Sharon Osbourne, has an interesting early life section on Wikipedia. He was a record label executive and had a reputation as a violent thug who ripped off his artists every which way he could.
Albanians enjoy protection from the American Empire itself, so I don’t think this suspected money-laundering scheme is anything to bother them in the least. For long as Camp Bondsteel remains in Kosovo, everything’s under control and we can enjoy shqiptare pop stars. Who knows, maybe we could even welcome both Albania and Macedonia in the EU at some point?
As for the music industry, we don’t need any Great Reset here, it’s already prepared. We already listen to the same music, will buy in the same mall chains and vote for the same people in our nominal “countries”.
American protection is why they’re so brazen. Fortunately, this brazenness allows us to observe the process by which they launder money through the music industry and then gain understanding of the music industry itself.
Albanians are NOT “cultural Europeans”. Are they “racial Europeans” (and are Bosnians?)? Or are they just Muslim/Asiatic aliens whose ancestors conquered that part of Europe, and stayed on after the withdrawal of the Ottomans? And where do we draw the line on these “who is white” questions? It cannot be length of European residence. Some alien groups – Roma, Jews – have been in Europe for centuries or even more than a millennium, but they were never and are not actual indigenous Europeans.
Anyway, I would love Jeelvy or others to discuss the proper racio-cultural classification of the Balkan peoples. I’ve never been anywhere near that part of the world. But I’ve known many Americans over the decades who had Southeast European blood in them (Croatian, Serb, Hungarian, Romanian, Bulgarian, Ukrainian, Greek – but no Albanians or Bosnians), and they were all assimilated white Americans (one of my Greek acquaintances in college was actually a student from Greece, and was blonde; but another friend who’s 100% Greek-American frankly looks like he has Asian blood; I at first thought he might be part-Oriental). I once saw a 1990s movie set and filmed in Albania, however, and the scenes of ordinary people – especially children – did not make them look white to me. More like Arabs.
I’m really uncomfortable doing the Balkan thing in front of auslanders, but to answer your main question, Bosnians are white, some Albanians are. The reality of it is that Albania is two nations LARPing as one and half of them are only white if we extend whiteness to Turkic caucasoids.
You can see that sort of mixture anywhere that Turks occupied for centuries. I consider Bulgarians and (former) Yugoslavs White, but you will see many with blonde hair and blue eyes, and many who are quite dark. There’s no question who is White once you see the difference between them and gypsies. In Turkey, however, while the majority are dark, one can also find fair-skinned people with light hair or eyes – a reminder of the hundreds of thousands of Whites taken as slaves over the centuries.
Some of the “Bulgarian Turks” are obviously genetically primarily White – people who converted and assimilated over the centuries. Some who are totally culturally Slavic obviously have a Turk in the woodpile somewhere in past ages. Again, all a legacy of conquest and Turkish occupation. As I have never been to Albania, I can only judge based on the few publicized in the media, and on that basis they do look distinctly different. The Balkans and the endlessly simmering conflicts there: the fruit of racial and cultural miscegenation combined with multinational empires. A lesson in what not to do.
Modern populations of the Balkans are mostly unadmixed with Turks. Those who converted to Islam moved away when the Ottoman empire was defeated, and mostly form Turkey’s business, political, military and cultural elite today (hence the blond, blue-eyed Turks).
With Albanians, however, it’s different because the sultan moved entire villages from the Caucasus, mostly Azerbaijan, to the sparsely populated mountainous regions of northern Albania. So they’re not Turkish (which for a long time simply meant “Muslim”) as much as Azeri. These are distinct from southern Albanians (Tosks) who are primarily Epirotian with Slavic admixture.
@Nicholas R. Jeelvy
I used to describe Albanians as the Chechens of the Balkans. Guess I wasn’t too far from the truth. Similar mountain bandit and clannish ethos.
@Nicholas R. Jeelvy & 3g4me
I think Byzantine Romans became ‘Turks’ when they converted to Islam. The Turkish clans which poured through Cappadocia towards Thracia and Balkans must’ve been joined by an overwhelming majority of local converts. And soon the original Mongoloid featured Turks disappeared since the dominant Y-chromosome population was the erstwhile Roman citizens of the Byzantine Empire now praying in Arabic and speaking Turk for official purposes.
The Ottoman court painters often pictured their Sultans with flowing beards and thick moustaches, a trait completely absent in the Mongoloid race.
After the dissolution of the Empire, Mustafa Kemal, himself of Greek descent, tried to dilute Islam and rejoin these converted Greeks and Romans with their European brethren. But Sunni Hanifi Islam proved too critical a factor in the new ‘Turkish’ identitarian matrix.
‘Pan-Turkism’ couldn’t take off because no one was willing to accept Ankara’s and their younger brother Baku’s ‘Turkish’ credentials. Just because they speak a Turkish dialect didn’t mean they would get an automatic entry in the Turkic family. The French is understood and spoken by Algerians but that doesn’t imply that the latter are Romanized Germanic Franks.
The only way left for ‘Turkey’ to justify its domicile was to revive the Ottoman memory. Hence, the explosion of period dramas and the return of dress-up Janissaries in Sultan Erdogan’s Presidential palace…..and whose ancestors were Georgians.
“Normal people genuinely like the things their masters want them to like”. Well, when affluence-poisoned people become the norm, that is correct.
The narcosis of affluence afflicting the 20th century West has enabled such as the above-described hive-mindedness among Westerners. The cultural corruption of affluence is the Achilles’ Heel of the West.
Wealth, affluence, corruption, calamity. It is into this fatal vortex that the West is now descending. An existential crisis that the West must overcome.
If against all odds the West prevails, it must banish extremes of wealth among its people and repopulate with a dominant class composed of tradesmen and agrarians, living close upon the land and thus fortified against the moral corruption of affluence.
Re drug cartels: they could all be destroyed TOMORROW if the West had the guts to remove all legal prohibitions on sale/possession of narcotics.
If dope were a dollar per pound on the street, the cartels would collapse, overnight – no more drug crime, gangs, money-laundering, etc. Ninety percent of Western street crime would disappear. And most migration would stop also. Imagine what a relief that would be!!
It is the very Prohibition of these substances that causes the problem. So why not legalize?
Because the LEFT would boo-hoo that dope addicts “would harm themselves”. The Left always wants to keep protecting dumbass people from their own folly. And thousands of government “drug-enforcement” bureaucrats would also oppose because they don’t want to lose their jobs. And neither do taxpayer-funded “drug-rehab” industry gurus.
The solutions to Western survival are readily at hand. We just don’t have the guts yet to implement them.
The dope is incidental to the narco-cartel. The Mexicans make money off avocados, the Sicilians make money out of olive oil, back in the day, they used to smuggle limes. A mafia type organization is a military threat, which requires a military response from the government.
The existence, scale and power of these organizations is a testament to the weakness of modern governments.
A big part of the drug problem is the open border with Mexico. Large quantities of drugs are smuggled across the unguarded border every day, it’s the most efficient way to deliver drugs into the U.S. from south of the border. Flying drones with a few pounds of drugs, cocaine submarines etc. are notoriously unreliable methods and simply can’t deliver the quantities required in the illegal drug business.
I am convinced this is one of the most important reasons the Mexican border is wide open. The illegal drug trade throws off enormous wealth for corrupt police, politicians, judges, lawyers, bankers and even regular people downstream from the drug business. The Mexican border area is generally a very poor area and the drug money spreads wealth around even to people who fix cars, prepare food, provide lodging etc. but are not involved in the drug trade.
If every yard of the 2,000 mile Mexican border were secured with a 20 foot tall, 15 yard deep concertina wire fence with Border Patrol officers behind it 24/7 and interior immigration enforcement the drug trade would shrivel to nothing. This would be a financial disaster for many people in the U.S., many of whom hold professional positions with good salaries.
The opposition to a real border fence such as the one Israel has is not based upon humanitarian grounds, that is the good reason for opposing a border fence. The real reason a border fence is opposed is because it would end the river of dirty money making all those scumbags in law, government and business wealthy.
You will always hear the “good” reason something is done, rarely will you hear the “real” reason something is done but you will never hear the real reason without first hearing the “good” reason.
I think its quite incredible that you’d talk about Frank Zappa. I myself like a good deal of Frank Zappa, but he himself has quite the interesting history as it relates to a sort of top-down confabulation of a culture. The Zappa music scene and its locale, imagery and cannabis and LSD and magic mushroom usage have been rumored for generations to have been financed and promoted to mold and weaken culture to better control people.
Zappa himself was connected through his family members to the military and the place he came from, Laurel Canyon, is claimed to be a major epicenter of the psyops.
It reminds me of the disclosure, albeit limited disclosure, that certain forms of modern art were financed and promoted by intelligence agencies for a whole host of reasons. Promoting and profiteering off the likes of Jackson Pollack was psychological operations by the likes of the CIA and US military.
They’ve been playing pussyfoot with disclosing that psychedelic rock music and the whole gamut of punk, funk, hard rock, proto-metal, you know, all that beloved Baby Boomer stuff from the 1960s, 1970s and 1980s was a big multinational Cold War cultural psyops and money laundering and operations financing scheme the way that modern art was, and likely still is.
Honestly, who is Dua Lipa? I’m glad Jeelvy is providing the white nat perspective on this and other aspects of pop culture, because someone should be doing it. But probably the truest way to be countercultural is to totally ignore pop culture, and get on with the lifetime’s work (or longer) of immersing oneself in the authentic cultural excellences of the West.
We should not spend too much effort attacking the enemy on his ground, but rather, make him fight us on ours.
You can ignore their banal music (which Jeelvy successfully did) and use them as a springboard to discuss more important things, like the undue influence of finance and Albanians on our societies, which have far-reaching impacts that might one day disturb you in your home listening to Furtwangler or something.
Oh, I’m not some “abjure the realm” Christianist or libertarian. There is no escape from politics, and the “I just want to grill!” meme reminds me of how I used to argue decades ago at early John Randolph Club meetings against racial political warfare-ignoring libertarian isolationists as well as paleoconservative localists and “front-porch-ists”. Sooner or later, I would say, given the Third World Population Bomb and America’s immigration insanity, we are not going to be able to hide from the race problem (and depending upon your age, if young enough, you would be amazed at how evasive and deliberately unaware so many white conservatives were wrt race across especially the 80s, despite the efforts of Wilmot Robertson and William Pierce and David Duke; race realism only started to make a comeback in the course of the “Multicultural Nineties” with Jared Taylor and AR, the CofCC, the publication of The Bell Curve and Race, Evolution, and Behavior, and the advent of the commercial internet). How often I argued along the lines of “an ounce of prevention is worth a pound of cure”!
And obviously, I understand that Jeelvy was discussing something more important than the crappy music itself – though my little comment was doing so as well.
Jeelvy is one of my favorite CC writers. But he completely fails to capture the psychology of pop music consumerism. In particular, he evinces no understanding of the hip White indie rock listener or dance music aesthete. The type who self-consciously resists commercial taste and is crestfallen to learn that another person can identify his selections on Spotify.
I don’t think that he was going for that. (If you really care, that is my domain.)
Sometimes you have to discuss actual shit-tier radio pop, which is what this is, because it allows for greater understanding of industry players or Albanians because you can safely side-step the music itself. Dua, Ora, Rexha et al are fascinating as metaphenomena and raise questions specifically because their music is so utterly banal as to make one wonder why it is popular. Music actually being good can lead you into the trap of discussing it rather than the social issue at play.
Weisswald is right. This is not a piece about music, but about the music industry.
The Italian Mafia no doubt had a hand in getting Frank Sinatra in the big time. It’s rumored that James Brown has a massive body count and had several competitive singers and club owners murdered by black organized crime when he was coming up.
Charles Manson said the entire music industry and drug market was controlled by the same entity and that the Beach Boys had no control over anything themselves and Jay Sebring wasn’t just the hairstylist to the stars, he was the main drug dealer to them selling product distributed by the mafia and that is why the bull shit cover story of a white supremacist trying to start a race war with Beatles record was sold to the public.
“Jews understand very well that it doesn’t matter whether your product is good or bad, but what matters is that you’re in the market, and the best way to be in the market is to be the only game in town. ”
Yes. Take for example, “The Blast Beat Network”. Founded and run by two little stupid leftist jews. The blast Beat network has several lame websites dedicated to Metal music and what they do is sell ads to companies that appear all over these junk sites of course the more money a record label sends them, the more favorable the coverage their bands get and on all of the multiple sites under their banner. Giving a false illusional of popularity and thus taste making. Since these sites have taken over metal in a big way.
These little jews act like tyrants of course to anything right wing or pro white. Even threatening labels they won’t promote anything they release unless they kick a certain band off their label or demand a band fire a member who said something remotely racist. In their typical jewish way they try to make a clown out or pioneers like Burzum while pushing absolutely shitty bands with leftist views or a band who a bunch of non whites. They active ly destroying metal music for money and agenda pushing.
One of their sites is run by a reggae loving black with a full blown communist white wife and every article is a pretext to commie ideas and rants about white supremacist. Even posting pics of dead German children as a reminder or what fascists get. Why a black rastafarian is trying to educate society about what Black and Death Metal is and it’s is beyond my understanding.
Mr. Jeelvy’s subject here is so spot on, as usual. Every time I hear a laugh track or have the misfortune to read something about whatever was on Saturday Night Live I know I am being told what is funny, not what actually is. And by the same people.
Substitute prophet for “profit” and one gets a better understanding of the economic situation.
I don’t disagree particularly on anything you said except to note that Rick Rubin really got the best out of Johnny Cash. He did great work with him.
Great article. I have been saying for decades Hollywood is a gigantic money laundering operation w fake costs and fake sales numbers. Obviously a totally jewish mind control operation.
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