A Review

Kevin MacDonald:

Psychoanalysis In Its Death Throes


R.E. Prindle

MacDonald, Kevin: http://www.csulb.edu/~kmacd/paper-CrewsFreud.html


     This is a review or commentary of Kevin MacDonald’s paper of 1996: Freud’s Follies: Psychoanalysis As Religion, Cult And Political Movement.

     The paper has apparently been retitled here as Psychoanalysis In Its Death Throes: The Moral And Intellectual Legacy Of A Pseudoscience.

     I don’t know Kevin but I have had some correspondence with him over the internet so I hope he won’t find me presumptuous by referring to him as Kevin.  As a Professor at California State University At Long Beach Kevin MacDonald has a distinguished record adding to the luster of the faculty.

     His book Culture of Critique is a valuable addition to the literature.  Generally speaking I endorse all his conclusions in this paper  with the exception of his condemnation of psychoanalysis.  I do not believe the discipline to be a pseudo-science.  The problem is with Freud and not psychoanalysis.  The investigation of the mind was in its elementary stages at the time Freud entered the picture.  Indeed people had a horror at the very notion of almost any psychological concept and still do.  To my mind Freud’s most valuable contribution was the The Psychopathology Of Everyday Life.  Even the study of simple everyday psychologically revealing traits was derided.  The thought that a ‘Freudian slip’ could give away one’s inner thoughts was too horrifying to contemplate.

     But there it was in bold relief- the subconscious, or unconscious as Freud called it.  Freud neither invented nor discovered the unconscious as many people still believe.  The unconscious had been a topic of investigation for some time.  It was a mystery then, a mystery to most now, many people disbelieved the concept then, many still do.

     The trouble with Freud’s vision of the unconscious is that he believed it was inherently evil, uncontrollable and actually a separate entity of the mind but connected somehow.

     His error was pointed out to him at the time but as Kevin points out Freud had insulated his vision of psychoanalysis by making an Order of it.  He thus separated his thoughts from scientific criticism building a wall around them just as his Jews built a wall around Torah.  As Kevin points out:

     The apex of the authoritarian, anti-scientific institutional structure was the Secret Committee of hand-picked loyalsits sworn to uphold psychoanalytic orthodoxy, described by Phyllis Grosskurth in ‘The Secret Ring: Freud’s Inner Circle And The Politics of Pyschoanalysis.  By insisting the Committee must be absolutely secret, Freud enshrined the principle of confidentiality.  The various psychoanalytic societies that emerged from the Committee were like Communist cells, in which the members vowed eternal obedience to their leader.  Psycholanalysis became institutionalized by the founding of journals and the training of candidates; in short an extraordinarly effective political society.

     Thus Freud was able to separate his doctrine from scientific scrutiny while creating a terrific mystique about himself and his ‘science.’

     In fact while his doctrine was based on sound, for the state of learning at the time, factual research he fashioned the facts into a tool or weapon for a specific purpose for which any changes to the doctrine would weaken its effectiveness.  It was essential that it stay the same.

     As Kevin points out Freud was a politician first, researcher secondly and a scientist thirdly.  While more scientific outsiders were critical Freud’s fellow Jewish insiders picked up the ball and ran with it.

     Freud was a member of the International Order of B’nai B’rith.  He attended meetings regularly in Vienna while lecturing on psychological matters frequently.  Can it be a coincidence that the Anti-Defamation League of B’nai B’rith was created in the United States in 1913?  Does anyone believe that the subtle psychological methods weren’t worked out in Vienna?

     When the Frankfurt School Of Social Research was organized in Germany in 1923 incorporating Freudian psychology does anyone believe that was a coincidence?  The Marxists embraced a Freudian agenda.  You may be sure that Franz Boas applied Freudian doctrines to Anthropology.

     There was a good deal of natural reisistance to Freudian doctrines in Europe but the Nazi disaster played into Freudian hands completely.  After Hitler’s election in 1933 droves of Freudian analysts and the whole Frankfurt School fled Germany most choosing to settle in the United States in the cultural capitols of NYC and Hollywood.

     While psychoanalysis was all the rage through the fifties the reaction set in during the sixties.  There was much to disagree with in what was essentially an unchanging doctrine that was hostile to the non-Jewish world.  Freud’s reputation has gradually been demolished among the goyim since the sixties.  However this is irrelevant.  It doesn’t matter what the goyim think.  The tool, the wapon is in the hands of Freud’s fellow Jews where it has been and is being wielded effectively.

     So, while Kevin MacDonald’s critque and condemnation is accurate and effective among the goyim it is of no consquence to the effective application of the doctrine by Freud’s fellow Jews.  It’s like Machiavelli.  Just because you’re appalled by his doctrines doesn’t mean they don’t work and aren’t being used.

     One would do better to educate people to defend themselves against this pernicious doctrine than to merely condemn it.

     While I agree with Kevin’s analysis I do disagree with his condemnation of the effectiveness of a psychoanalytic approach.

     The key to Freud’s  misuse of psychological analysis is his description of the unconscious.  As a scientist it is diffiicult for me to believe that he actually perceived the unconscious in such a way.  I have to believe that his private understanding was quite different then his public description.  It is possible that his understanding is purely religious based on Kabbalah and Talmud and having nothing to do with science.  The notion that the unconscious exists independently of both mind and body is absurd on the face of it.

     One thing to bear in mind is that Freud was well informed on the subject of hypnosis.  He studied (for a couple months) under the Frenchman Jean-Martin Charcot who associated hypnotism quite correctly with hysteria.  Freud also visited Bernstein of the Nancy hypnotic school.  He must have had a reasonable understanding of hypnosis and its active agent, suggestion.

     When he says that he abandoned hypnosis for subliminal recall which he says he found just as effective he is betraying a profound knowledge of the relationship of the un- or subconscious mind and conscious actions.  He actually discovered that he no longer needed to put people into a trance to obtain the same results.  Contrary to his statement I’m sure he was very effective as a hypnotist.

     In point of fact in the interchange between the conscious and the unconscious he had discovered the true nature of the subconscious.  That is what the interior dialogue is- a discussion between the clear conscious mind and the fixated subconscious which distorts reality to conform with its mistaken understanding.

     Further, I would be surprised if Freud didn’t understand that fixation was merely hypnotic suggestion.  By suggestion I dont limit the notion of spoken suggestions by others but to suggestion by circumstances.  For instance if one is defeated at a game by another this may suggest a lack of manliness on one’s own part.  In retreating into a hypnoid state the suggestion of unmanliness may be translated into a fixation of emasculation that renders one effeminate in relation to other men.  This is done unawares to oneself but the fixation controls all future responses  unless exorcised.  It is possible that an exorcism may occur spontaneously in relation to another event later in life but otherwise the fixation has to be recognized and rectified by analysis.

     The inadequacy is a diminution of ego.  Such a diminution of ego always takes a response of a sexual nature.

     In fact, Freud’s work centers on hypnosis and suggestion, emasculation and sex.  He himself was severely emasculated and sexually repressed.  So there you have the core of Freudian psychology.  This understanding is then used to further the Jewish cause in the warfare with European ‘Christian’ society.  I exclude America because Freud was too European to extend his interest further.

     Freud then devised a plan to mass hypnotize, confuse and psychologically conquer Europe and by extension the West.  Running his special knowledge as an Order, as Kevin indicates, he was under no compunction to share his knowledge in a scientific manner.  In other words he sought to control his knowledge uninfluenced by outside contributions that would render his intent ineffective.  Even inside the Order as Kevin points out Freud strictly controlled psychoanalysis by the use of his Secret Committee and strict disciplining of what he considered deviant thought.

     Both facets were absolutely necessary if his plan of subversion was to work.  So far the plan has functioned perfectly.

     There is no reason to throw the baby out with the bath water however.

     Freud and Freud’s doctrine should be repudiated.

     Psychoanalysis however is a valid psychological approach.  However administration of it take great skill.  Once a correct understanding of suggestion and hypnosis is adopted as the basis of psychology and its relationship to fixation in  a subconscious having an active relationship with the conscious, fixations can be located and exorcised freeing the mind from compulsive behavior.

     The individual with a proper understanding can then be put on guard to prevent new fixations.  I think it may require a certain amount of intelligence.

     Freud’s system completely negates the role of intelligence and the conscious mind in favor of compulsive behavior.  Thus by emphasizing the individual’s ability to control both his conscious and subconscious minds he will be able to master his own will and act without interference from fixations.

     Those are the key factors.  While I second Kevin MacDonald in his analysis of Freud and Freudianism I affirm the scientific nature of psychoanalysis itself.  Just because Freud used his knowledge dishonestly doesn’t mean he wasn’t onto something.


Greil Marcus, Bob Dylan And Martin Scorsese

A Review of the Movie

No Direction Home by Martin Scorsese


R.E. Prindle



Scorsese, Martin:  No Direction Home- A Film

Marcus, Greil:  http://www.powells.com/essays/marcus.html


     I’m not the only one that shakes  his head over the rants of Greil Marcus.  The perspective he’s coming from deserves some attention.  Greil Marcus in the disciple, probably the successor. of the decadent leader of the Situationist International, Guy Debord.

     The SI is a crank organization.  Like Hitler they place a lot of emphasis on architecture.  Architecture seems to go with the totalitarian personality.  Unlike Hitler whose goal was a Roman grandiosity to match his Thousand Year Reich, we can’t be sure what SI architecture would be like other than ‘human to make people happy.’  In other words Debord found fault with architecture that the majority were happy with but displeased him.  He seemed to think that he could create some stunning new architecture that might please someone other than himself.  We all know how hard a feat  that is.

     But he ranted and raved actually being influential in the moronic disturbances in France in 1968.  Whatever beauty he proposed we’re still waiting to see.  Greil Marcus still thinks the ability of the SI to transform God, life and beauty is within his grasp.  He runs around America at the public expense trying to drum up the Revolution.  Bob Dylan seems to be the centerpiece  of his plans.  Greil’s reaction to Martin Scorcese’s Dylan movie might then be a little more understandable.

     As film biographies go, and they don’t go very well on average, I thought Scorsese’s effort made the most of not too much.  After all there is really very little earth shattering in the career of Bob Dylan.  Greil thinks Bob brought in something new; at best Bob just brought in something a little different no matter how startling it seemed from the perspective of the times.  From the perspective of this time  one wonders what the fuss was all about.  Nevertheless Scorcese maintained a nice tension of interest.  But not for Greil.

     Martin Scorsese’s Dylan documentary- a shape-shifting assemblage of 1950s and 1960s film footage, still photos, strange music, and interviews with Dylan and compatriots conducted over the past years by Dylan’s manager, Jeff Rosen- never holds still, it allows, say, the Irish folksinger Liam Clancy, telling stories of Dylan in Greenwich Village, to contradict Dylan telling his own stories about the same thing;  the film contradicts itself.  There is nothing definitive here; within the film there is not a single version of a single song that runs from beginning to end.

     So now we’re essentially back to Guy Debord’s SI architecture argument.  Whatever has been created is no good and must be replaced by Debord’s ideas which unfortunately for us we cannot evaluate because Debord gave no examples.  It doesn’t really matter, of course, because if he did their ‘definitive’ beauty and utility would not be, perhaps, so apparent to the rest of us as it was to him.

     So, as Debord’s successor Marcus implies that Scorsese has made a movie as ugly as the architecture that Debord and presumably Marcus despises.  The implication is the Greil would have done much better.

You can imagine Rosen driving up to Scorsese’s door with a truck and dumping thousands of pounds of books, interview tapes, film  reels, loose photographs, a complete collection of Dylan albums along with a few hundred or a few thousand bootlegs, and then leaving, trusting that a fan who also knows how to make a movie to make you watch…could wave his hands and just like that a movie would emerge…

     Well, why not?  I’m not aware of Scorsese’s process but a very fine movie of its type does emerge.  With unerring insight Scorsese seeks out key influences, the most important artists in Dylan’s life, introduces them to the viewer, very likely for the first time, and brings some coherence into the Dylan story.  It’s only a movie though, no substitute for study.

     I do not consider it a fault that Scorsese presents all the high points covered by the four main biographies.  His purpose seems to be to cover the years from Dylan’s high school beginnings to Bob’s nervous breakdown in 1966 which he does.  Although already a long film it is never boring while to cover more ground it would be necessary to condense and eliminate to add anything beyond 1966 making the film unintelligible- something like Greil’s own prose.  Of course, the Situationist International that believes in magic might be able to snap its fingers and make it happen, although I think their blank screen notion might be easier to conceive than something with content.  Besides I don’t believe in magic.

     Greil apparently doesn’t believe in differences of opinion or else he feels that loyalty to his ideal requires everyone to ask what Bob said and confirm it.  Marcusian version of freedom of speech.

     As it is I thought Scorcese very skillfully selected song snippets to bring out the very best of artists like Hank Williams, John Jacob Niles, Makem and the Clancys and others.  His interviews with Dave Van Ronk, Liam Clancy, John Cohen and Suze Rotolo were apt and to the point presenting each as attractively as possible.

     I mean Bob left some bad vibes behind that were not accentuated, nay, even glossed over.

     The key point of the movie was the actual monologue or dialogue carried on with a very careworn looking Dylan.  Time has treated him fairly viciously.  Bob revealed himself as much as a modest man could.  There was very little braggadocio while Bob explained himself in a very natural droll manner.  He was much more charming than first person reports of him would lead you to believe.

     Of course, Greil is fixated on what he considers the revolutionary break with the Folk Tradition with Bob as the Promethean figure bringing electricity to ‘weird old America.’

     Greil apparently believes we viewer have been hoodwinked by Scorsese of malevolent intent as a result.

     So you enter the movie with your ideas suspended and your prejudices disarmed, thrown back- eager to be moved- as in moved from one place to another- as you were.  You’ve been set up; you’re ready for anything.  You’ll buy whatever the movie is selling.

     But by the end- when the film has taken the viewer from Dylan’s childhood to those halcyon days in the spring of 1966, then cutting the story off, cold, with just a little card to indicate that the story went on, Bob Dylan continued to do various things, but it’s not the movie’s problem so good night- you don’t know how it got to “Like A Rolling Stone” starting up on stage one more time.

     By this point Marcus has divorced himself from reality and vanished into the pure rhetoric of his armed prejudices.  He’s no longer talking about the content of Scorsese’s movie.  Greil is contrasting the movie he thinks he would have made, Debordian architecture, with the movie or architecture that actually exists.  An inability to perceive reality that is quite mad in its own way.

     It’s what the Jews call building a fence around Torah.  A mad attempt to prevent reality from disturbing the lovely inner version of not only the way they think things could be but shoud be.  Once again as with Debordian architecture or Marcus’ movie not a vision likely to be shared by many others.  One’s private dreams never would be.

     Greil even disagrees with Scorsese’s title in a rather vehement way:

     …despite that title, “No Direction Home,” from Dylan’s greatest hit, “Like A Rolling Stone”- already used as a title for Robert Shelton’s 1986 Dylan biography- such a cliche, isolated like that, so “On The Road”, so “it’s the journey, not the destination,” so corny.

     LOL.  I suppose so, but it didn’t bother me nor affect my enjoyment of the movie.  The running interview with Dylan unifies the movie while giving us an open window to Bob’s motivations and the working of his mind.  While no song was finished Scorcese has great taste and selected the most moving passages from the songs he showed displaying the remarkable vocal talents of the singers.  I was astonished at the mad approach of John Jacob Niles with its odd setting of his auditors standing over him as he sang.  I melted before Tommy Makem’s rendition of the Butcher Boy. (Don’t know the real title.) while the Clancys were superb.  I’d heard all these artists on record before but the recordings lost all the dynamics of the performances.  Even the old Red Pete Seeger really put his song across live.  The New Lost City Ramblers unfortunately were as stiff as their recordings.

     By this time I suppose most people reading this have seen Scorsese’s movie but for those Dylan fans who haven’t the movie is highly recommended.

     As for Greil I can only cite the words of the old Children’s game:  Greil Marcus, Greil Marcus, come out, come out, from wherever you are.


Analysis, Critical Theory And Greil Marcus


R.E. Prindle


     Through the moral and political rhetoric of John Winthrop, the Declaration Of Independence and the Constitution, Abraham Lincoln and Martin Luther King, America explained itself to itself as a field of promises so vast they could only be betrayed.  The attempt to keep the promises- of community, liberty, jutice, and equality for all, because once let loose the genie could never be put back in the bottle- in face of the betrayal became the engine of American history and the template for our national story.

-Greil Marcus



     The problem I have with Mr. Marcus’ writing is that it is all skewed.  His vision is distorted by his ideologies.  Mr. Marcus purports to write about the US using terms like ‘our’ when he is in fact an Israeli citizen and places the interests of Israel above those of the United States.  This situation is exacerbated by the fact that he is an adherent of the Jewish Critical Theory or Frankfurt School while being a leader of the Situationist Internation.  Both organizations are subversiive of the ideals and goals of the United States seeking to supplant those goals with those of Israel or, in another word, Judaism.

     Mr Marcus is not clear and honest in his intentions, seeking to mislead his readers into believing that he is objectively analyzing America rather than denouncing it in favor of the Israeli point of view.  He refuses to admit that his intent is the supremacy of Israeli/Jewish interests.  I find this both dishonest and offensive.

     Further in his zeal to demonstrate that the United States is a failed society he refuses to take into account any social or scientific developments since, essentially, John Winthrop of the seventeenth century.

     Winthrop is essentially a religious bigot who because of his historical era was necessarily devoid of any scientific knowledge.  His spoutings originate in the ignorance of the Jewish Bible written some two thousand or so years before his present which he takes as the literal truth and the word of ‘God.’

     While his views may be of interest to explain his times and while his views were influential in forming New England with its inherent bigotry they in no way reflect the views of Jefferson and others who were responsible for the formulations of the DOI and Constitution.  There were worlds of difference between the East Anglian Puritans and Cavaliers of both the South of England and the US.  Further Jefferson was a Revolutionary and Freemason learning his Freemasonry in the France of the Revolution.  Whether he was a Jacobin I can’t say but he has been so accused.

     While the Framers of the founding documents used the same words such as equality that we use today they undoubtedly did not undersand them as we do today.  To refuse to understand and take that into account is willful obtuseness on Mr. Marcus’ part.  The phrase ‘all men are created equal’ was gainsaid by their counting Negroes as only three-fifths of a man.  Quite obviously they did not actually believe that all men were created equal.  Whether ‘all men’ is meant to include women is also conjectural as women were denied the attributes of citizenship being considered appendages of men as per the Biblical creation myth.  So clearly the Founders understanding of equality is quite different from that of, at least, Mr. Marcus.  On that basis his views can’t help but be skewed.

     The African in America was an insoluble problem to the society then as it is to society today.  While counting Negro men as three-fifths of a human certainly sounds ridiculous yet modern evolutionary science has proven what was evident to observation then that the Africans as the first Homo Sapiens to evolve from the Last Hominid Predecessor was necessarily left behind by future evolutionary species of Homo Sapiens or sub-species if you prefer.  Mr. Marcus and his fellow Liberals insist that equality of Blacks and Whites is denied solely on the basis of skin color.  This is nonsense.

     If Africans were equal or superior to Whites, Semites and Mongolids there could be and would be no denying the status of the African.  Furthermore such superiority would be self-evident as it must.  Instead of the so-called White Skin Privilege there would be Black Skin Privilege and then black skin would indicate superiority and be desirable.  There isn’t and the reason why is because that while equality is a fine sounding ideal it does not exist in fact in either the macro or micro example.  It cannot be made to exist by legislattion so long as differences between the five human species exist.

     So, I would object to Mr. Marcus’ characterization of ideals as promises, they are two different things, that have been betrayed.  There has been no betrayal.  Mr. Marcus misleads us with his approach of Critical Theory.  The Founding Fathers set high ideals to live up to, perhaps impossibly high ideals but ideals worth striving to realize nevertheless.  The problem now has been complicated by the scientific reallization of the incompatible differences between the species so that the original meaning of equal of the DOI seems to be the correct one.

     The Negro problem, bedeviling America from its origins, was the rock on which those ideals first foundered resulting in the Civil War between Whites, Reconstruction and the current New Abolitionist Movement proclaiming the need to exterminate Whites by any means necessary.  So, over the hundred fifty years since the Civil War Africans and their Liberal and Israeli/Jewish handlers are in a position to realize the goals of post-war Radical Reconstruction which was the elimination of Southern Whites by Africans in a larger version of the San Domingo Moment.

     As the Whites struggled to come to some resolution of the Negro Problem that has always bedeviled American history large, even huge, numbers of Southern and East European immigrants flooded the country.  It is useless to use racial arguments and say that antipathy to these peoples was somehow racial when there was no difference in color which is the only thing Liberals recognize as a barrier to assimiltion.

     Rather these peoples were culturally unable to understand the ideals that underlay the American attitude, disdained them and sought to replace them with their own.  Thus we have a tremendous criminal underworld led by Sicilians and Israelis while the Israelis seek to subvert the ideals Mr. Marcus notes as ‘promises’ to replace them with a State resembling that of Israel in which the Israelis are paramount while all others are denied humanity much as Mr. Marcus accuses the Europeans of the US in relation to the Blacks.

     One therefore has to believe that as an Israel citizen Mr. Marcus is hypocritical in his criticism of American ‘racism’ and the ‘betrayal’ of the the ideal of equality.

     Unless Mr. Marcus can reconcile his ostensible beilief with actual Israeli actions I, for one, find it impossible to take him seriously.  Critical Theory and the SI are antipathetic to the ideals he seems to be espousing.

     I too believe that we have fallen short of the ideals expressed in the Founding Documents but for different reasons than those mentioned by Mr. Marcus.  I find no betrayal of those ideals but rather the sabotage of them by competing social systems such as the Sicilian, the Israeli and the African.

     Mr. Marcus may be an expert in Critical Theory but he is no analyst.  Analysis is Science; Critical Theory is religion.  Oil and water and the two don’t mix while Science trumps Critical Theory every time.

A Review

Lipstick Traces:

Greil Marcus

Part IX

Into The Abyss

It sounded like a lot of fun wrecking the world.

It felt like freedom.

Greil Marcus: Lipstick Traces


     It is probably time to look a little into Mr. Marcus’ antecedents.  He was born in the summer of 1945 between VE and VJ day as he tells us.  He was ten, then, in 1954-55 when Rock and Roll came into existence.  He doesn’t seem to imply that he was particularly interested in records in the next decade that would have made him twenty in 1964-65.  He would have been 15 to 20  from 1960-65 during which time he would have listened to the radio.  He also seems to have been in Philadelphia at some time during that period when he attended a Bob Dylan concert. I haven’t read yet where he mentioned that he had a record collection during that period.  He doesn’t seem to recall much from memory before 1965 with the possible exception of Bob Dylan.

     One is forced to conclude then that most if not all his record lore was acquired between his twentieth and thirtieth years from 1965 to 1974-75.  He began his career as a critic in 1966 when he went to work for Rolling Stone.  He left that post a year later to write for Creem Magazine. His first book Mystery Train was published in 1975 so he should have acquired his lore over maybe eight years.

     He should have been a sophomore in ’64 which means he should have graduated in’66 so his real record education would have been from ’66 to ’74.  Not much time  for someone posing as an expert in ’75. 

     He says he was born in San Francisco moving into Menlo Park in 1955 so that he went to Menlo Park-Atherton High.  The area is one of the ritziest in the Bay Area.  Atherton is top of the line for the Bay so his step-father must have been doing pretty well.  In other words Mr. Marcus is a rich kid.  I haven’t read exactly where he lived between 1948 when his mother remarried and 1955.

     At any rate he comes from a very well to do background.  After graduating from MPA he went over to Berkeley to attend UC.  He was there for the whole Free Speech brouhaha.  At some time after graduation from UC he returned to Berkeley to live which is his home base at the present time.

     At the time he wrote Mystery Train I would question the depth and breadth of his knowledge.

     He published Mystery Train at the last possible moment such a book could be published.  From ’66 to ’75 those of us concerned with records were convinced that something monumental and earth shaking was happening.  Wonderful theories of the music’s importance were spun of which Mystery Train is one.  I think it probable that Mr. Marcus saw a string of such books rolling off his pen.  A funny thing happened on the way to the forum however.  Disco and Punk blew up the Rock monolith about the same year destroying the grandiose notions we were all believing in.  All of a sudden as Mr. Marcus points out confidence was destroyed and survival became the issue.  Mr. Marcus and his plans were thrown for a loop.

     Not until 1989 did he find another tack to try to get back on track.  In that year he published Lipstick Traces.  Feeling that his first career had been blown out of the water by Punk he paid homage to it by concentrating on Johnny Rotten and the Sex Pistols.  Broadening out some he incorporated the history of what he considered various Dada movements.  His concern with Dada had found expression in Mystery Train so it was only necessary to relate Dada to Punk with which he had no trouble.

     Since ’89 he has published a continuous series of books, the most recent being The Shape Of Things To Come.


     I hesitate to do this but I feel the reader should know something of my credentials to give some basis for judging my criticism and analysis.

     I’m about seven years older than Mr. Marcus having been born in 1938.  I was therefore sixteen in 1954 which is more or less the cut off date for the beginning of Rock and Roll.

     I grew up in Saginaw, Michigan.  We were apparently out of the mainstream of Rock development.  Even though we had a fairly large Black population there was no Rhythm And Blues or Black music on the local radio.  There were only traditional music shows on radio in 1954 when Top Forty was in embryo.  By ’55 and ’56 we had full fledged Top 40 and what a blast it was.

     With Top 40 came Black artists like Bill Doggett, Fats Domino and Little Richard but they were a Top 40 sound whether they called it Rhythm And Blues or not.  One could tune into Detroit for Black records but I didn’t know anyone who did.  I tuned in a couple times but Black music per se repelled me.

     I was in the class of ’56.  The class of ’55 knew nothing of Rock and Roll at the time and very little of Top 40 radio.  I was in a distinct minority in the class of ’56 who listened to Rock at all.  The class of ’57 was the first class attuned to the music.

     As to first R & R records, who knows?  The early and mid-fifties were a blend of musics so I heard a fair amount of Swing.  Anyone who traces Rock and Roll directly to Swing is dreaming.  I know Buddy Rich, Gene Krupa and the Swing drummers.  None of them had the R&R feel.  Swing rhythm sections were miniscule compared to Rock which to my mind is a singer, lead guitar and a two or three piece rhythm section.  Very faint resemblance to Swing.

     When it became financially impossible for Big Band to survive I suppose the instrumental quartet was the next logical step which led to the Big Beat.  Neither Elvis nor Sun had a Big Beat.  He had rhythm but no beat;  he was essentially a hillbilly singer doing fast songs which is how everyone thought of him.  That’s what I heard and none of the people I knew would listen to him because he was a hillbilly.  As far as I’m concerned the Big Beat was developed by Lonnie Donegan and that is where the English Beat groups come from.  Lonnie’s early stuff was as much Rock as anything else although he was primarily a terrific Folk and Blues singers.  Unparalleled.  He was as good as Elvis but somewhat more traditional sounding than Presley.  Elvis could really move you.

     Elvis was virtually unknown in Saginaw before Heartbreak Hotel.  I missed out on the Sun records by a day.  The record store had returned them the day before I got there so I have all RCAs.  I never knew anyone else who had heard of Elvis between the time I bought my 45s and Heartbreak Hotel.

     I never thought of Elvis as a Rock and Roller on those early records.  There really was no Rock and Roll except for Bill Haley And The Comets and that stuff was really leadfooted.  I didn’t really enjoy Rock Around The Clock and I never bought it. Elvis was just a hillbilly cat who could really sing a song.  I knew from reading the labels that Arthur Crudup wrote That’s All Right Mama but that meant nothing to me.  Who ever heard of Arthur Crudup? 

     I don’t understand why I don’t have Sun Presleys as I bought every Sun record as it came out.  I had to have them special ordered as nobody wanted them but I was very familiar with the Sun sound.  Not impossibly Sam Phillips had as much to do with Rock and Roll as anyone because all the records he produced had that forward leaning scudding way.  You could have substituted Elvis for Johnny Cash on Get Rhythm and there wouldn’t have been much difference.

     When Elvis left Sun his production values changed with the sound becoming flat footed and vertical rather than forward leaning.  Elvis was always Elvis for me but I never had the incentive to buy his RCA produced 45s.

     Some may say the music died with Buddy Holly’s plane crash but that is a gross exaggeration.  Holly’s career was virtually over by February ’59.  He was singing solo and fading fast.  The Big Bopper was a no one who had one trash talking record while Richie Valens was as close to a zero as you can get.

     Elvis was kept alive by RCA during his Army years but Little Richard was finished after Heebie Jeebies and Jerry Lee’s Rock career was stalled.  High School Confidential was so-so.  Jerry Lee’s marriage to his cousin may have put him in bad odor in some quarters but that was a fishing expedition to discredit him.  Might have hurt his personal appearances but not his record sales, they were already down.  To my mind Duane Eddy came out with Rebel Rouser on the heel of the plane crash and Rock and Roll bounced right along without missing a beat.  Apparently not too many people remember the effect of Eddy and Rebel Rouser but it was the second kick in the pants after Presley.  Kept us all going.

     The big problem for Rock and Roll was Organized Crime.  The Mafia and Chicago Outfit controlled Juke boxes.  Those idiots determined that only their acts got on the Juke boxes.  If you want a good representation of what the record industry was like check out the best Rock and Roll movie ever made- The Girl Can’t Help It.  If you watch closely and pay attention you are being told exactly how it was.

     An Outfit figure greatly resembling Al Capone, although the time period was long after Capone, controls the Juke boxes for the Outfit.  That means the Juke boxes at least West of the Appalachians to the Coast.  The Juke boxes in Saginaw were stocked by the Outfit that for all practical purposes controlled the town.  All towns.

     Girl Can’t Help It stars Jayne Mansfield and Tommy Ewell.  Mansfield is the Mafia figure’s moll.  He wants to make her a record star which he figures he can do because he controls the Juke boxes.  All of ’em.  But the Girl Can’t Sing.  The producers are at their wits ends because they have to do something with her.  They accidentally discover that she has this high pitched squeal.  So, a la Tequila in which periodically the instrumental music stops and someone announces ‘Tequila’, at certain points in the record the music stops and Mansfield squeals.  This is so captivating the record does become a hit.

     Now, the movie highlights several Mafia acts like Teddy Randazzo and the Gum Drops that would never draw anyone into the theatres.  Teddy didn’t even have an attractive high pitched squeal to go along with his great accordion playing.  But as is usual with non-record types the belief is that if you can expose non-talent acts to enough people they will sell.  So the Outfit did understand they needed some draws to get people in to expose the non-talent.  Who are you going to go to?  Well, Gene Vincent, Eddie Cochran, Little Richard for starters.  I went because of Gene Vincent.

     The movie was released in ’58 so not many of us had ever actually seen any of these guys.  The Mob had their draws but they wanted to showcase the Italian acts which they did.  Gene Vincent was shot through the window of a recording studio for about half of Be Bop A Lula; Eddie Cochran did his Twenty Flight Rock shot off a TV set and Little Richard was shot through a crowd in a club about fifty feet away.

     As I say if you pay attention you can get a very good idea of what was going on.  Mansfield and Ewell were great but they were at the terminal point of their careers.

     The early sixties were pretty duddy as far as I was concerned, but that doesn’t necessarily mean I was right,  so I went back to my true love, Country and Western.  As I noted in Part One I was drawn back into pop by my brother-in -law.  As I said I then graduated from college in ’66 going up to Oregon from the Bay Area.  It was there in ’67 that I opened a record store.  From ’67 to ’80 I was a decent sized player in the record business.  I thought I heard everything but I am always amazed at the records for which I have no recollection even seeing. 

     I was there when the first Rolling Stone came out.  I don’t know where the magazine sold but it wasn’t Oregon.  Pretty boring actually.  Got worse as time went on and then it got Political. 

     I quit listening to records in 1980 when I closed my record store.  Punk was too ridiculous to waste your time on although I do have two or three Disco records I value.  Well, Rock and Roll was great while it lasted but it really did die in ’75.  Not only Punk and Disco but the untalented Epigone came along.  The splitting out of Heavy Metal as a genre didn’t help either.  God!  I know how Marcus felt.  Everything just crashed to the ground.


     Mr. Marcus’ themes and direction remain the same from Mystery Train to The Shape Of Things To Come.  His attitudes are controlled by his dual Israeli and American passports: his Semitism and anti-Semitism.  These two citizenships coincide in his psyche with his twin racial concerns.  The Israeli citizenship as Semitism and his American citizenship with anti-Semitism. Naturally his Israeli Semitism takes precedence in his loyalty over his American anti-Semitism.  Americans are Nazis in his mind.  As with Adam in the Garden of Paradise and God, the twin concepts exist side by side in his mind with Adam representing Semitism and God anti-Semitism.  Thus his Jewish/Adamic/Israeli identity represents his absolute purity in his mind while America/God represent his foul or Devil side.  He and his fellow Jews think that by trashing the Garden, Europe, Palestine, America or wherever they happen to reside that their ‘purity’ will triumph and they will be as they represent themselves: a Holy People suited to govern mankind, Judge-Penitents.  That is what the eighteenth century messiah, Jacob Frank, meant by saying that if the Jews commited all the evil in their minds then this ‘purity’ will shine to light the way for the peoples.  You don’t have to be Freud to know it ain’t going to work.  Thus Mr. Marcus’ subliminal message is all good comes from Jewish musicians and all evil from American musicians.  The Jewish Bob Dylan becomes his ultimate hero taking precedence over the American anti-hero, Elvis Presley.

     That’s why in Lipstick Traces he juxtaposes the anti-hero Presley and the Jewish hero Isidore Isou.

     Mr. Marcus scatters several clues throughout his work to hint at what he’s attempting.  He mentions John Ford’s movie The Man Who Shot Liberty Valence and one of its morals a couple times concentrating on the movie’s stated notion that once an event becomes legendary even though the received version may be untrue people prefer the myth to the fact.  There may be some truth to the notion although as Mr. Marcus explores the counter notion of detournement he gives us the means to strip such an ingrained notion from the story and turn it in any direction we want.  Thus in the twenties the Judaeo-Communists on the one hand debunked American heroes and myths while at the same time detourning them so that Jefferson and Lincoln become founding members of Communism as Communism in turn becomes Twentieth Century Americanism.  A neat trick that didn’t quite work.

     Actually the two practices denote the transition from one religion to another which also lays bare Mr. Marcus’ intent.  Thus in the first few centuries of the Piscean Age the Catholic Church detourned ancient Taurian and Arien religious sites by stripping them of their pagan connotations replacing the meaning with little balloons containing Christian messages.  Eventually they replaced Arien temples with Piscean churches.

      Jack Finney’s 1950’s novel The Invasion Of The Body Snatchers describes the same thing in which aliens while maintaining exact replicas of the bodies they take over inform the minds with entirely different content.  Finney understood detournement completely long before Guy Debord had it figured out.

     That is exactly what the Jews, who are attempting to replace Christianity are doing.  Mr. Marcus mentions Philip Roth’s The Plot To Destroy America approvingly.  Of course Mr. Marcus and Roth are both Jewish.  In Roth’s detournement of American history he portrays the Jewish rescue of the true America, which the Jews in their wisdom created, from the Weird Old Americans who are trying to twist the Promised Land into some Nazi hate filled paranoid perversion of what one is led to believe was the American paradise Jews had created.

      Roth chooses to recklessly defame Charles Lindhberg, a great and true American, but that is what detournement is all about.  Thus on the one hand Roth detournes ‘Weird Old American’ heroes into villains while at the same time creating the myth of the Jewish saviors a la Liberty Valence.

     The Jews then become the men who shot Liberty Valence thus destroying the Weird Old America while bringing into existence this Jewish paradise we enjoy today.  Shut your mouth, you anti-Semite.

     Why Liberty Valence?

     Well, Liberty is the opposite of collectivity or the Jewish Law.  He represents the sort of ‘rugged individualism’ that threatened Jewish collectivity or subordination to the Mosaic Law.  Valence means valour, courage or valiance.  That is, a man who has what it takes to stand out against the crowd or Mosaic Law.  I’m sure it was an unintended compliment.  No one of the collectivity has what it takes to stand up against him, not even the hero of the collectivity, John Wayne.

     The legend that is so hard to kill is that Jimmie Stewart shot Liberty Valance down in a fair and square man to man fight.  Actually Wayne is the agent of the collectivity who bushwhacked Liberty from a dark alley,  Wayne and his Negro servitor and alter ego who tossed his rifle to him.

     So this is the secret message of Lipstick Traces creating a legend and detourning existing beliefs that run counter to those of the collectivity.  For that reason the branch of academic history known as American Studies has been captured by Jews who stand up laughingly epatering the Americans, debunking and detourning as they go.  

     I see where Mr. Marcus and a yoyo by the name of Todd Gitlin are joining forces to epater the Americans together.  Ought to be funny if you’ve got the right sense of humor.


     All the seeds of Mr. Marcus later work are apparent in his 1975 Mystery Train.  One should examine Mr. Marcus construction of Train carefully.

     He examines six recording stars.  Two of which he calls ancestors and four ‘Inheritors.’  The six are Harmonica Frank, Robert Johnson, Dylan/The Band, Sly Stone, Randy Newman and Elvis Presley.

     Out of the period of 1950-75 Mr. Marcus chooses a very personal list of bands.  One would call the list debateable but there’s not much to debate.  Whether they are supposed to be important or influential isn’t clear.  Apart from Presley none of them were overwhelming important  or influential.  Pink Floyd, Grateful Dead, the Doors?  No, they aren’t on board Mr. Marcus’ Mystery Train.  So, what do we have? 

     The list is bracketed by two White performers, Harmonica Frank and Elvis Presley.  Robert Johnson and Sly Stone are Black.  Dylan/The Band are Jewish and Canadian while Robbie Robertson is mentioned as having a Jewish father.  Thus Dylan/The Band and Randy Newman are two Jewish outfits.  Two Whites, two Blacks, two Jews.  Obviously we have an agenda here.

     The two ancestors are questionable.  I may have a vague memory of having heard the name Harmonica Frank but the man influenced absolutely no one.  Technically he is no ancestor.  His only connection with, say, Elvis, is that both were produced by Sam Phillips at Sun records.  In that sense Harmonica Frank may be representative of what Phillips as a producer was trying to do but that represents Phillips and not Harmonica Frank.

     Thus when Phillips decided to produce Presley he used the same musical tenets or ‘ear.’ Elvis was very fortunate to have Phillips to hear his talent and draw him out.  Without Phillips there would never have been an Elvis Presley other than this guy driving a truck.

     As far as ‘White’ ancestors go Phillips would have been more appropriate than Frank.  I suppose what I am saying is that I find Mr. Marcus either too shallow or too tendentious.

     Mr. Marcus doesn’t use a Jewish ancestor but as a Black ancestor he chooses Robert Johnson.  As he states there were no Robert Johnson recordings available for anyone to hear before the 1960 Columbia release.  Huddie ‘Leadbelly’ Ledbettor would have been a much more influential ancestor.  Not only had his recordings been continuously available but his songs formed a staple for Folk artists from the post-war years on.  His Good Night Irene and Midnight Special were ten times more influential than anything Robert Johnson ever wrote, a hundred times…heck, a thousand times, more.  Johnson’s songs began to appear by other artists only in late sixties.

     Mr. Marcus’ enthusiasm for Johnson’s lyrics is absolutely inexplicable.  He quotes the following as an example of Johnson’s genius:


Me and the devil, was walking side by side

Oooo, me and the devil was walking side by side.

I’m going to beat my woman until I get satisfied.


     Pretty choice stuff, huh?  I’m surprised the ladies haven’t boycotted both Johnson and Mr. Marcus’ Mystery Train.

     Nevertheless his choice of Johnson seems arbitrary at the best and tendentious at the worst.

     I presume he chose the Band because of their association with Bob Dylan.  Mr. Marcus definitely sets Dylan up as the greatest of the era replacing Presley.  This is patently ridiculous.

     His final paragraph detournes Elvis in favor of Dylan.  Bear in mind that in 1975 Elvis still had two years to live so Mr. Marcus may be understood to be addressing Presley indirectly:


     All in all there is one remaining moment I want to see;  One epiphany that would somehow bring his (Elvis’) story home.  Elvis would take the stage as he always has; the roar of the audience would surround him, as it always will.  After a time, he would begin a song by Bob Dylan, singing slowly.  Elvis would give it everything he has.  “I must have been mad,” he would cry,  “I didn’t know what I had- until I threw it all away.”

     And then with love in his heart, he would laugh.


     That’s a pretty tale.  As a detournement the kingof rock n’ roll passes the scepter to Dylan.  While as a hypnotic suggestion to the living Elvis Mr. Marcus is attempting to bring his dream to come to pass.  We’ll never know if it would have worked but it was the traditional Judaeo-Freudian method.

     Thus the two sections on Harmonica Frank and Elvis are slurs on Mr. Marcus’ concept of The Weird Old America.  That title of another of his books is itself a detournement of America.

     For the last few years I have been wavering but after reading Mr. Marcus’ ideas on Dylan I have probably irrevocably turned against him.  To write of the Band is to write of Dylan.  Dylan would always have been Dylan but the Band would never have been anything without Dylan.  The Band probably stands to Dylan as Presley does to Sam Phillips.

     The first two Band LPs are the result of direct contact with Dylan in the sessions that resulted in the basement tapes.  With the separation from Dylan the effect wore off with the Band returning to their R & R roots.  At their peak they were no Doors or Led Zeppelin.  Like Dylan I find them unlistenable today.

     Mr. Marcus wrote a two or three hundred page essay on Dylan’s Like A Rolling Stone which he seems to consider the greatest song ever written.  He perversely refuses to accept the song for what it is- a hymn to ingratitude.  In the song Dylan clearly resents his dependence on Joan Baez for his early success.  He, in fact, used her but now in his pride of success he spurns her from him- with his foot so to speak.  A real ingrate as a matter of fact.

     Mr. Marcus reproduces the lyrics in their entirety as a preface to the book.  I’m not going to do the same here but Like A Rolling Stone is in a genre of Dylan songs that can be defined only as mocking or ‘hate songs.’  Along with Rolling Stone one can include Positively Fourth Street, Please, Crawl Out Your Window, Ballad Of A Thin Man, Desolation Row and any number of others.  Sooner Or Later, One Of Us Must Know.

     Again with Dylan the tone of his voice is more important than the words.  For me I responded to the pain and anger in his voice that seemed to reflect my own experiences and which I interpreted in my own way.  The same attitude would be reflected differently by the baby boomers born in the early fifties.  As noted they came along at the time of Mystery Train’s writing to shatter Mr. Marcus immediate dream of a Rock And Roll Czardom.

     One presumes that the song Mr. Marcus wanted Presley to sing in order to detourne himself in favor of Bob Dylan ‘with love in his heart and a laugh’ thus allowing one religious idol to replace another was ‘Like A Rolling Stone.’

     Unfortunately due to Mr. Marcus’ interpretation I now see ‘Like A Rolling Stone’ as an actual hymn of hate scorning and mocking Joan Baez.  Throughout Bob Dylan’s career he had the habit of purloining things of others…said the Joker to the Thief.  In Minneapolis and Colorado he actually stole records from other people.  His excuse was that he really needed them.  In New york he lifted the arrangement of a song of Dave Von Ronk’s and recorded it without permission.  He had a ‘good excuse’ for that too.  He needed it.

     Perhaps his greatest theft was of the career of Joan Baez.  Baez out of a generous heart used her influence and reputation to gain acceptance for the caterwauling Dylan.  He couldn’t admit this theft without exposing himself as an ingrate subject to the scorn of the Folk community of Greenwich Village.  This may possibly be the secret meaning of Positively Fourth Street in which he seems to heap scorn on the whole Folk community.

      Mr. Marcus is especially impressed with the disgustingly hateful lines:

Ain’t it hard

When you discover that

He really wasn’t

Where It’s at

After he took from you everything

He could steal?


How does it feel?

How does it feel to be on your own

No direction home

Like a complete unknown

Like a rolling stone.

     Dylan has identified the person he is speaking to as ‘Miss Lowly’ who went to a fine school and here he says that he has stolen everything from her that he can steal and then he taunts her as though he had reduced her to his condition when he first arrived in New York City.  ‘How does it feel to be on your own with no direction home like a complete unknown?’

     Yes.  It must have been terrifying for Dylan to arrive in New York City as a complete unknown with no understanding of how to get started, homeless and starving.  Dylan solved his problem by scrounging lodging and his next meal.  He just moved in on people, ate their food, read their books, listened to their records, picked their minds, stole from them everything he could steal and then turned his back on them.  Cut them cold.  Scorned them as in Positively Fourth St.  Well, all right. OK.  But I don’t find it as admirable as Mr. Marcus does.  As I say I never really thought of Like A Rolling Stone deeply before reading Bob Dylan At The Crossroads.  (Robert Johnson again.  Is Mr. Marcus suggesting that Dylan sold his soul to the Devil?) but now that I have I am appalled at the coarseness of actually composing a song about your perfidy and advertising it to the world.

     If Mr. Marcus had handed Presley the song saying this is going to be what you’ll sing next, Presley who had perfect musical sense would have said:  ‘Not on your life, Baby Blue.’

     No laugh and a shrug from the King.

     After Dylan/The Band Mr. Marcus moves on to Sly Stone.  Sly was not a major talent.  He had a couple fair R&B songs bordering on open racism.  Sinking rapidly beneath drugs Sly Stone rapidly sunk his career.

     Moving next to Randy Newman I must confess that Mr. Marcus has lost me.  Perhaps he is trying to help the career of a fellow Semite along.  Got me.  Newman’s songs were always repulsive to me and Mr. Marcus’ quotes merely make them more repellent.  Gee, I wonder why Elvis never sang ‘Short People?’

     And then of course we come to what Mr. Marcus intends as his piece de resistance of criticism, Elvis himself.  This piece is a regular tear down job.

     Mr. Marcus was a trifle too young during the late forties and first half of the fifties to understand the situation.  During those years the musical culture was in the hands of Jews and Italians.  New York’s Tin Pan Alley from the twenties on had controlled American popular music.  The clubs in which artists performed were all mobbed up as all the artists were mobbed up will they nil they.  Thus nobody got through who wasn’t thoroughly vetted.

     On the fringes one had areas of Black musicians who were outside the scope of popular music hence not worried about.  At the same time one had Hillbilly music that was so despised that proper Whites retched at the mere mention of it and that is no exaggeration.  Concomitant with Hillbilly although culturally acceptable was Folk music.  Postwar from 1946 to 1964 in my estimation Folk was the only listenable pop musical expression.  Unfortunately Folk music was in the hands of the Reds making it culturally suspect.

     During the twenties and thirties Tin Pan Alley songs were vital enough to satisfy the nation’s listening ear although there were those who complained about it.  Whatever had worked for Tin Pan Alley between the wars the ethic had worn too thin between ’46 and ’54.  The music was so godawful and stiff that few could listen to it especially the young.  Into the Jewish vacuum stepped the Black and Hillbilly songwriters and performers.  While Hank Williams may have slipped slightly over the line of pop his songs were welcomed with open arms by pop cover artists.  At that time there was no shame in covering a song made popular by another artist, even as the original version was still moving up the charts.

     A golden time was created for unvetted performers and songwriters to step into the vacuum.  While Eddie Fisher, Ezio Pinza and Mario Lanza  and a stable of Italian pop singers attempted to hold the Tin Pan Alley fort Black street singers were emerging as Doo Wop groups while in Memphis Sam Phillips was developing the distinctive Sun Sound of which Elvis was the cornerstone.  Elvis and his songs were completely unvetted by Tin Pan Alley and the Mob.  As far as I’m concerned Presley’s breakthrough was such a fortunate concatenation of circumstances as to be miraculous.  There are few times when things work out so perfectly for all concerned from Sam Phillips to Elvis to Colonel Parker and RCA.  While Elvis was the transcendant talent he was only a component in the Elvis Presley success story.  He had the good sense to stick to singing while he had the good fortune to be associated with managers of talent, circumspection, genius and above average integrity.  So rare as to be almost unbelievable.

      Phillips brought the talent to the surface that anyone else would have overlooked.  A shy retiring Elvis given the opportunity dug deep to release the inner singer to become a polished singer almost immediately- in fact immediately.  All of his Sun singles are absolutely stunning.  There was no reason not to be swept off your feet from the first note of That’s All Right Mama.

     Elvis’ genius was that he handled songs in a perfect blend of hillbilly and pop.  He may have used some songs written by Blacks but there was no Black singer that could possibly have made of those songs what Elvis did.

     Greil Marcus, Guralnick and others seem to be of the opinion that something went wrong with Elvis.  Nothing went wrong with Elvis; he had the perfect career from his first single to his death in 1977.  He was unable to withstand the pressures of his unparalled success.  Unable to move in public because of his fans he was virtually under house arrest.  For crying out loud, the guy couldn’t even go to McDonald’s.  On top of that he aroused the anger and enmity of the ‘greatest generation’, the Mob and if Mr. Marcus is any example, the Jews.  I’m sure he had difficulty just staying alive.

     His goal was the movies.  Thus his singing style changed to fit the venue.  As much as I loved the Sun Elvis there is no possible way he could have continued in the same vein and sustained popularity  for twenty some odd years.  The new Elvis of Heartbreak Hotel and the early RCA years lost me as a record buyer.  Still, as Dr. Hook sang:  Elvis, he’s a hero, he’s a superstar…. as a hero Elvis always retained my loyalty.

     While the Army seemed a disaster, his tour of duty may have been fortuitous for his career.  The Army allowed the excitement to abate even as anticipation increased but when he returned it was as a return with a different feel.  His style once again changed from the early RCA years.  Listening to those old Mario Lanza and Ezio Pinza records inspired him to sing operatic C&W.  Rather startling to my ear but with sure musical sensibility it worked for Elvis.

     And then his popularity was so immense that he was able to star in two to three movies a year with all of them being money makers.  The songs may have been less than memorable but he had to reach a mass audience for which popular music allowed of no vocal eccentricities.  His fan base was strong enough and his talent great enough to sustain his popularity through a couple dozen movies that were frequently scorned and mocked but as Mr. Marcus generously points out they offered something that set them apart. 

     As all things must his movie career passed its ethic and cannily realizing it Elvis moved on.  Thus in 1968 he produced a special that catapulted him back to the top of the musical scene.  Even Mr. Marcus was overwhelmed by the ’68 transition from movie star back to recording master.

     Nor did Elvis stop there but went on to a musical triumph that dwarfed anything that had gone before it including Frank Sinatra’s whole career- that was the satellite transmission form Hawaii to the whole world, the entire planet, simultaneously.  The whole world tuned in to Elvis at one time.  The equivalent of several hundred Woodstocks and something that has never been equaled by any other performer or groups of performers.

     So, what did go wrong?  Elvis had an unimaginably perfect career.  The tragedy is that the enormous pressures were too great for this amazingly centered performer.  It took a lot to beat him down.

     Now, Elvis had a popularity that Bob Dylan couldn’t even dream about.  Dylan could sing cranky little songs of hatred and viciousness such as Like A Rolling Stone to the ‘abused, confused, misused strung out ones and worse’ but Elvis couldn’t sing such viciousness to a worldwide audience.  Imagine Elvis Live from Hawaii singing to a mob of adoring women lines like this:

Aw, you’ve

Gone to the finest school alright Miss Lowly but you know you only used to get

Juiced in it.

Nobody’s ever taught you to live out on the street

And now you’re gonna

Have to get

Used to it.

You say you never


With the mystery tramp but now you


He’s not selling any


As you stare into the vacuum

Of his eyes

And say:

Do you want to

Make a deal?

How  does it feel?

How does it feel?

To be on your own

With no direction home

A complete unknown…

      Pardon me, I’m laughing so hard at the image I’m falling out of my chair.  Oops, there I go.


     I’m back.  Didn’t hurt myself.

     So, anyway I consider Mr. Marcus’ whole critique so skewed as to be vitiated.  It would take a whole lot of love in Elvis heart to make such a musical gaffe, blowing his career in one misguided song and then say:  ‘I didn’t know what I had until I till I threw it all away.’  Sorry Greil, Bob Dylan is actually a minor talent.  Let us not forget that he once opened a show for the Rolling Stones.


     There was a long hiatus of fourteen years between Mystery Train and the appearance of Lipstick Traces in 1989.  During that period one assumes that Mr. Marcus had ‘no direction home.’  How the elements that make up Lipstick Traces formed is open to conjecture.  He attributes his direction to one John Rockwell on the dedication page.  His style was also apparently heavily influenced by the Firesign Theatre hence the herky jerky, jumpy non-sequitur style.  The Firesign Theatre was one of the great recording acts of the late 60s and the 70s, still going too.  They have continued to release CDs on into their old age, such as it is, but, as I say, I stopped listening to anything after 1980.

     As the Firesign is essential to Mr. Marcus I suspect there is loads of humor in Traces that I’m not getting.  Hard enough to make those difficult jumps.  Juxtaposing Presley and Isou wasn’t even a jump, it was a gap.

      John Rockwell was some sort of music critic at the NYT so not exactly the sort of influence one would want.  As Mr. Marcus would have been already familiar with the Frankfurt School of which he is a continuator and mentions Dada in Mystery Train one imagines that critic Rockwell pushed him in the direction of the Presley lookalike Isidore Isou and incidents like the rather obscure Invasion of Notre Dame.  Mr. Marcus was five at the time of the Invasion; one doubts he remembers it.  Thus, perhaps Mr. Rockwell directed his eyes to the morgue of intriguing but all but forgotten news clippings with which he would have been familiar.  Thus Mr. Marcus found the Lettrist/Situationist International.

     The Paris disturbance following on the heels of the Free Speech brouhaha  would then have given him a focal point.  It appears that at some point Mr. Marcus met Debord becoming very well acquainted with the old drunk and pervert, as it were, a disciple.  When Debord shot himself through the heart in 1994 as with Drs. Mabuse and Baum Debord’s soul apparently entered Mr. Marcus’ body so that he appears to have assumed leadership of the SI.

     Traumatized by the Punkers who he gives credit for bringing down Rock he also became fascinated with Johnny Rotten and the Sex Pistols as well as several other Punk units.  Personally I have always thought Punk was absolutely useless hence I find Mr. Marcus’ fascination with this sub-marginal trash actually objectionable.  While his subjects knew that they were nothing and sought to be everything the means they chose to raise their chances of becoming something were ill advised.

     However as Mr. Marcus integrates them into the Dada/Lettrist/Situationist program it may be worth considering at least Johnny Rotten and the Sex Pistols who according to Mr. Marcus are an outgrowth of the SI.

     After the failure of the 1968 disturbance in Paris Debord’s SI seems to have become truly international what with Greil Marcus in the US and people like Malcom McLaren and Jamie Reid in England.  God only knows how many covert cells there were and what looneys they were allied with.

     McLaren and Reid were casting about for some way to epater the bourgeois when McLaren had an interview with the New York Dolls.  From them he conceived the notion  that no talent was needed at all to become a rock band.  One only needed the ability to make noise.  Fortunately for Reid and McLaren there were myriads of young losers who felt the same way.  One only had to pick and choose the most likely candidates on a cosmetic basis and give their repertoire a Situationist slant.  You know, create a situation.

     Mr. Marcus wonders from where the musical infuences for the Punkers came.  I have to say that their inspiration was largely Bob Dylan.  Johnny Rotten (ne Lydon) was born in 1956 so in 1975 he was twenty years old.  The Punks then would have been eighteen to twenty-five.  A primary influence on them would have been Bob Dylan.  Dylan’s first records give the impression of an untutored musician.  The stuff was just noisy.  He could neither sing nor play.

     The mean streak that Mr. Marcus finds so attractive in Like A Rolling Stone runs throughout the corpus.  As much as I hate to admit it that hateful mocking derisive attitude is the essence of Dylan’s style.  After having Mr. Marcus point this out to me so unmistakably I’m having to rearrange my memories of Bob to change their faces and give them all brand new names.  I’m having to become a revisionist of my own history.

     While Dylan is a real cultural name dropper so that he gives the impression of being learned, he isn’t.  Chronicles proved that.  His criticisms of society are merely emotional rants rather than informed or intellectual critiques.  That he could wing tripe like Masters of War past what must have been a fairly sophisticated Folk crowd is truly phenomenal.  Or, maybe I was wrong about them too.

     At any rate the Punkers were merely unhappy with their teenage angst.  I can assure you that I and my age cohort were too.  If the right social environment had been provided perhaps we would have responded in the same way.

     Johnny Rotten could not have had many of the thoughts Mr. Marcus attributes to him, the kid was only nineteen, so one must believe that McLaren and Reid filled in the blanks with Situationese and Rotten rearranged the words.  While McLaren and Reid may have turned a few dollars from the act it is difficult to see what else they accomplished.

     Society was developing rapidly without their help.  The band Devo released their significant LP Are We Not Men? A. We Are Devo that quite clearly reflected the direction in which society was headed.

     The amazing thing is that Mr. Marcus can discuss these insignificant nits at such length and with such seriousness.  His long discussion of Johnathon Richman’s ‘Roadrunner’ was entirely uncalled for.  Neither Richman nor his song had any influence in record circles.  The record wasn’t even available for sale.

     As Mr. Marcus neither owns up to being in the SI or gives any idea of the direction of the SI and ‘revolutionary’ groups I find that his book while full of interesting details is pointless.  I have read the thing five or six times for this review.  I have given the book more thought than it deserves.  If the intent is a sly joke I don’t find it very funny.  If the intent is to recruit members for the SI I find nothing agreable in the organization.  I remain unrecruited.  As a collection of non-sequiturs I find the book actually unreadable.

     If Mr. Marcus modeled himself on the Firesign Theatre his choice was admirable but his execution was execrable.  As a historian I’m afraid I would have to grade him below a C.  Perhaps the quality of the book is best expressed by the cover.

Why is he nothing when he should be everything?

End Of Review




A Review

Lipstick Traces: Greil Marcus

Escape From Reality

by R.E. Prindle


      One gathers the impression from Mr. Marcus’ work that all his characters are in an extreme flight from reality.  This would be equally true of the historical movements he describes of the Begins and Beguines and Free Spirit.  His conception of the Free Spirit is a downright denial of reality and a full scale unlimited retreat into fantasy.  Coinciding with this is an impossible demand for absolute freedom.  The freedom of the Free Spirits, the Dadaist/Lettrist/Situationists and indeed, the Jews in general, is a freedom that requires passive objects- in other words Masters and Slaves.  The freedom of the Free Spirits that on one level demanded unlimited sexual gratification for men at the same time required the abuse and degradation of women.  Indeed, the image of a woman having sex with ten different men in succession is sexual abuse of a major kind that must irreparably damage the psyche of the woman.

     I return again to the striking images of the insane asylum or Maison de Sante of Poe’s The System Of Dr. Tarr And Professor Fether.  There is a great similarity in that story between the inmates seizing control of the asylum and the present situation in which all the disaffected factions such as homosexuals, Jews, Blacks and whatever have turned society on its head suppressing the asylum attendants or establishing an order in their own favor.

     As I read Mr. Marcus’ remarkable book there is no one loonier than Guy Debord and the Lettrist/Situationist International.  Both he and Isou are busy inventing systems that have no relationship to a just or benevolent society.

     Their purpose while framed in grandiose proclamations of ‘changing society for a better world’ merely mask a desire of revolution for revolution’s sake as with the 1968 Paris disturbance that seems to have been meant only to ‘epater le bourgeoisie.’  To sow discord for the sole purpose of giving meaning to Debord’s life, to make him feel that indeed he was a Mastermind and powerful individual.

     How the Situationist International meshed with the Frankfurt School for the furtherance of the Jewish Revolution is predictably left unexamined by Mr. Marcus.  By the early fifties the Institute For Social Research was once again headquartered in Europe.  Herbert Marcuse had been left behind in the US where he took up residence at UC- San Diego translating the claptrap of Adorno and others into English.

     As a continuator of the Frankfurt School then Mr. Marcus provides a link between the Dadaists of 1916, The Frankfurt School of 1923 and the postwar Lettrist/Situationist International.

     Thus as Debord replaced Isou in ’57-’58 the path then led into the so-called Free Speech Movement at UC- Berkeley and spreading from there to US campuses during the decade of the sixties linking up with the Cultural Revolution of Mao that made 1968 such a significant year not only in Paris but worldwide.

     Mr. Marcus gives us a stirring account of his peripheral involvement in the Free Speech Movement of Berkeley  of which he seems to be very proud.  While he doesn’t inform us that he himself was a chief in any committees of public safety or actually involved in any sit-ins with consequent arrest he was present at several large rallies and assemblies in which as he tells us he cheered lustily.

     He seems to be convinced that the cause of ‘freedom’ was thereby greatly advanced.  If so, one asks, ‘freedom’ for whom?  As in Poe’s Maison De Sante for the inmates as opposed to the guards obviously.  The inmates won their freedom from the asylum administrators and guards by capturing and imprisoning them.  Thus as Paul Simon has been known to chant:  One man’s ceiling is another man’s floor.  Oh, yes, indeed!

     Now, Mr. Marcus’ works are sprinkled with images and metaphors drawn from the act of fellatio.  While I have drawn my conclusions on the matter I leave it to the reader to draw theirs.  No matter what happens then the issue at hand is of a not so subconscious sexual nature.  Ultimately Mr. Marcus’ ‘total freedom’ gets down to the unlimited sexual gratification of an elite.

     In pre-Revolutionary France this elite was the hereditary aristocracy.  Their victims were drawn from the ‘lower orders’.  For a fair example of how that aristocracy conducted itself it is only necessary to turn the pages of the works of the Marquis de Sade which Mr. Marcus undoubtedly has.

     I hope I won’t offend if I say that what the Revolutionaries want is purely to displace the old elite and substitute themselves if for no other reason than to be able to gratify their sexual fantasies.

     There have been several sex havens in the twentieth century where Western men could go to gratify these illicit passions.  One need only mention Marrakesh, Tangiers, Thailand and locations where one can or could get all the dope one wanted, young girls and boys whose bodies could be violated at will for the appropriate price.  One man’s ceiling is another man’s floor.  One’s sexual passions can only be gratified on someone else’s body.  That is what makes de Sade’s writings so terrifying.

     While these sexual retreats are balms for perverted souls it is damned inconvenient to have to go so far at such great expense for such transient pleasures that require constant renewal.  What to do?  Why create possibilities closer to home of course.

      Thus one has women lured from far away with false promises, to be installed in brothels in your home town.  Or local girls plied with drugs until they will do anything you want.  Better still are the hypnotic drugs, but I don’t have to go into detail on the date rape drugs.

     Or, better yet, train whole generations to perverted sexual practices in the public schools from kindergarten up.  Catch the little bastards at five and fill their brains with sexual filth in the name of mental health and sexual liberation. 

     This stuff isn’t new but what is new is its public nature and audacity.  There have been small scale attempts to train men and women to gratify an elite.  The Geishas of Japan are a famous example.  And then there were the Irish slave women and mulattoes of the West Indies brought up to gratify the sexual needs of the planter elite with no unpleasant frictions.

     One man’s ceiling is another man’s floor.  Full freedom for the elite is complete slavery for the majority.  If Huxley’s gammas are needed they will be created, for elites need gammas.

     The elite has even cleverly arranged matters so that they can train five year old little boys and girls to be buggers and whores.  In control of the mainstream media they plump continuously for ‘freedom’ from ‘Puritanical strictures.’  They demand sex ‘education’ in the name of developing the full ‘human’ potential of the little buggers.

     The law is perverted for the purpose.  While the concept of the Law may be sacred, laws created by a minority for their convenience aren’t.  As in the sixties when civil disobedience was a sacred duty it is now no less a sacred duty to disobey these laws that benefit the few to the injury of all.  The principle of Law will not be violated anymore now than it was in the sixties.  That was when Greil Marcus was in the bleachers of Freedom howling his lungs out.

     Well, so Guy Debord somehow brought this civil disturbance in France in 1968 to fruition or so he claimed and believed.  As Mr. Marcus justly points out President De Gaulle lamented the fact that the entire disturbance was caused by a few malcontents.  The ‘freedom’ of Debord and the French Situationists meant the disruption if not the destruction of the lives and happiness of those who were trying to create a better civilization.  But, and this is a key point, in order to do so  they had to work.  Debord’s key slogan was ‘ne travaille jamais’.  Never work- suck off the productive.

     This is where I disagree with Mr. Marcus, I don’t find the attitude admirable.  One again asks the question who is the new elite that will replace the pre-Revolutionary elite?  One asks for whose benefit was the babel of languages introduced in that ancient never never land or multi-culturalism into today’s Europe and America?  There’s the real question Mr. Marcus isn’t critiquing.  When the old world is destroyed who will rule the new order?  Who will be masters and who will be the slaves?  Where will the new Law and laws come from?  Ah, Mr. Marcus, write a new book and tell us.

     I don’t think we’ll be hearing from Mr. Marcus on that issue soon even though I am eager.

     So, by 1968 the inmates were well on the way to being in charge of the asylum trying to get outside their clothes  rather than in them.  As I noted earlier Mr. Marcus begins his story at the end.  I will now continue, taking the head of the ouroboros and place its tail in its mouth.  We proceed to the first chapter of Mr. Marcus’ book, Lipstick Traces and the last part of my review.



A Review

Lipstick Traces: Greil Marcus

Part VII

The Assault On Charlie Chaplin

by R.E. Prindle


     Apparently satisfied with the attention called to themselves by The Invasion Of Notre Dame in 1950 Isou and the Lettrist International next made an assault on the film industry and Charlie Chaplin.

     Mr. Marcus doesn’t say where Isou announced his views on film or if anyone was listening but…


     …(Isou) both pronounced and demonstrated the manifesto of cinema decrepant, mixing up his images and his soundtrack, negating the filmic aspect of the film with torn and scratched celluloid, intentional flickering and passages of blank screen.  “I believe first of all that the cinema is too rich,” he proclaimed.  “It is obese.  I announce the destruction of the cinema, the first apocalyptic sign of rupture in this fat organism we call film.”


     What does one say to such grandiose nonsense as this?  What does “the first apocalyptic sign of rupture” mean?  While Isou was concentrating so heavily on letters he should have worked on the vocabulary of words a little bit.  How many people listened or cared?  Not many.  No one, actually.  Cinema decrepant?  Well, it was a concept but when you peeled away all the meaning, the ‘fat’, and showed nothing but black or white film, and made the strips of blank film unconscionably long, what then?  No one was willing to sit thrugh four and a half hours of blank film.  Once you’d seen one frame you’d seen them all, literally.

     Attention was required.  How to get it?  The Invasion Of Notre Dame had gotten the proto-Lettrists world wide attention.  That was one successful prank.  If coopting someone else’s gig worked once then it ought to work twice or perhaps three or four times running.  Well, that’s questionable, the old adage is never try the same joke three times running.  Isou, Debord and the other guy hadn’t heard that old adage.

     The second running of the joke got results but not all that much attention.

     The Lettrists stormed the citadel of the cinema at the Cannes Film Festival in a blazing display of chutzpah.  The boys were resisted but through the efforts of the homosexual lobby led by Jean Cocteau the Lettrists had a modest success.


     Through the graces of Cocteau, the festival actually awarded Isou the ‘Prix de l’ Avant Garde’ which was contrived on the spot.


     With or without the Prix de l’ Avant Garde few people were interested in viewing four and a half hours of blank film.

     The joke worked twice so the boys decided to ‘epater le bourgeouisie’ one more time without variation.

     Charlie Chaplin was coming to Paris to premier his film ‘Limelight’.  Chaplin was already in the afterglow of his long career.  Limelight wasn’t his last film but it should have been.  By the time he produced A Countess Of Hong Kong his career had turned into one eternal yawn.

     The boys launched a campaign printing leaflets of the most insulting and tasteless content.  Except that they were of the Left they would have been jailed.  An excerpt:


     Go to sleep, you fascist insect.  Rake in the dough.  Make it with high society (we loved it when you crawled on your stomach in front of little Elizabeth.)  Have a quick death, we promise you a first class funeral.


     All chutzpah and no civility.  It’s like these guys crawled out of the sewer for the occasion.  Three in a row was no charm.  Who the hell cared about Charlie Chaplin?  In the first place he was a Commie not a Fascist.  But you can’t call a guy a Commie and insult him in France.  What was he compared to Easter Mass at Notre Dame or even the pitiful Cannes Film Festival.  Next to nothing.  Nothing.  Three strikes and you’re out.  The not very interesting notion of cinema decrepant made little progress.  Even the ‘films’ have disappeared.

     I hope Mr. Marcus was being intentionally funny or perhaps his humor was unconscious but he says that although the film had disappeared he was working from a printed ‘script.’  It apparently takes more to write about a blank screen than to show it.

     So much for cinema decrepant.  So now the Lettrist-Situationist International is in mid-career from 1950-52 to 57 when Debord and Isou split.  So far these guys have made no impression at all.  It might be of interest to note that Lawrence Sterne in his eighteenth century novel, Tristram Shandy, had a chapter that was a blank page so Debord and Isou had an illustrious predecessor.

     At any rate we’ll next attempt a review of the last chapter, titled Lipstick Traces, before returning to the first chapter.  When I first saw the title Lipstick Traces I leaped to the conclusion of lipstick traces on a man’s collar betraying clandestine activities but Mr. Marcus following his song source closely gives the chapter title in full as Lipstick Traces (On A Cigarette.) Nothing clandestine there, just vulgarity.  To Part VIII.

A Review

Lipstick Traces:

Greil Marcus

Part VI

by R.E. Prindle


     Sometime in the early 1920s that supreme fantasist Sigmund Freud belatedly discovered the supreme impediment to the Jewish fantasy of world dominion- the Reality Principle.  He should have discovered it in the Garden Of Paradise right at the beginning.

     Freud had spent most of his life constructing a shining vision of the realization of Jewish dreams but he encountered that wall so wide you can’t go around it and so high you can’t go over it and it wouldn’t matter how many masochists beat their head against it that wall won’t fall down.

     This was exactly the problem that the Free Spirits who are the centerpiece of this chapter faced.  The Free Spirits of the 13th, 14th and 15th centuries sect who evolved into the Libertines of the 18th century essentially were precursors of the ancient Jewish attitude that nothing was to be denied them; all things were permitted to the elect.  As wild fantasists as the Jews they purportedly believed that if a woman had consecutive sex with ten different men if the last was a Free Spirit her virginity would be restored.  As you can see the Reality Principle had no meaning for either sect.

      Freud in the end chose to ignore the Reality Principle  although how he maintained hope for the redemption of Jewish hopes is difficult to follow.  It should have been clear to him that no matter how strenuously Jews pursued their dreams and fantasies they would always be doomed to failure.

     As with the Garden of Paradise expulsion destruction would always be their lot.  Ah, but there would always be that…remnant.  What sort of dream is that?

     Thus as Mr. Marcus points out even after the devastation of the death camps the Jews of Europe bounced back even before the ovens were cold with schemes to take over ‘our’ Europe.  That is the remarkable story that Mr. Marcus tells us in this chapter.

     I don’t know if Mr. Marcus is aware that every character in his historical novel is a psychotic.  All of them are in full retreat from the Reality Principle.  While I’m not sure he intends it all of them are facing terrific tensions in their daily living especially the ostensible protagonist of this story, Michel Mourre.  I’m going to treat Mr. Marcus’ book as a novel and accept his interpretation of the feelings and emotions of his characters as real.  Certainly he puts thoughts and notions in their minds that are beyond historians.  So while the situations and characters he portrays may be factual enough his story isn’t.

     The ostensible protagonist of the Invasion Of Notre Dame is a disturbed, psychotic Roman Catholic by the name of Michel Mourre.  He had been reared a Communist with all the attendant utopian projections and fantasies.  The test of the Communists and Mourre’s disillusionment came in 1940 when the Nazis arrived and the brave Communists including his father who had indoctrinated him crowded the train stations in an attempt to flee South.

     Having lost one faith Mourre attempted a replacement in Catholicism.  Catholicism failing him he was intellectually adrift wandering around the cafes of Paris spouting his discontent.  He was a perfect tool.  He quickly found those who knew how to use him.

     These were a group of young Jews seeking to epater l’eglise.  Scarcely skipping a beat on the way back from the extermination camps if they were ever in one they were continuing the Jewish war on Christianity and Europe that began long before Hitler and Stalin.

     The group worked up a plan using Mourre as a tool to disrupt Easter services at Notre Dame in the year of Our Lord, 1950.  How Mourre could allow himself to be duped in such an egregious manner is beyond me.  Well, maybe it’s not.  I was absolutely amazed- non-plussed, blown out of the water- to watch on television when Queen Elizabeth visited Jamaica to watch her being handed a sheaf of paper just before the cameras rolled and told that this was her speech.  She actually read it sight unseen.  If the Queen of England with a body of advisors to protect her from just such egregious errors can be duped, managed, hustled by bunch of ganja smoking hustlers then perhaps Mourre wasn’t at fault or perhaps White people are just fools.  I’m still working on that one but I’m afraid of the conclusion I might have to reach.

     At any rate Mourre wearing a Dominican outfit rushed up the aisles bearing a speech written for him by his Jewish confreres.  Mourre must have been drugged or hypnotized.  I don’t know what Queen Elizabeth’s excuse might be.

     According to Mr. Marcus the speech was written by a Serge Berna one of Mourre’s Jewish handlers.  The speech is written in the familiar J’ accuse manner made popular by the dupe and fool Emile Zola during the Dreyfuss Affair of the 1890s.  One wonders whether Zola drafted his own letter or whether his Jewish handlers wrote it for him as in the case of Mourre.  One is reminded of the ‘apology’ of Henry Ford that the American Jews wrote for him.

     Although written in the first person so that Mourre mouthing the words would appear to be voicing his own thoughts he is actually expressing the views of his Jewish handlers.  The language is violent, vicious and coarse expressing the deep Jewish hatred of Europe and America.  It seems incredible that this message went unheeded especially coming as it did on the heels of the war.  Despite both Hitler and Stalin the Jews had learned nothing.

     Two quotes are outstanding of this deep abiding hatred.  One should never hate nothing but hatred- Bob Dylan.


     I accuse the Catholic Church…of being the running sore on the decomposed body of the West (and)…your prayers have been the greasy smoke over the battlefields of our Europe.


     That is very strong and violent language.  The reference to our Europe clearly states that the conflict between Hitler, Stalin and the Jews was not one sided.  It is less a question of Hitler and Stalin exterminating Jews than whether they authorized the killing of Jews before the Jews authorized the killing of Europeans.  I have already mentioned the Jewish plan as expressed by their spokesperson, Noel Ignatiev, to exterminate  the entire billion strong White species.  The plan has been made public.  If the reader refuses to take the plan and threat seriously the more fool he.

     Once can cite numerous examples of Jewish murderousness as I have in my writing both on I, Dynamo and my writing on the site, ERBzine.  I’m not going to repeat them now.  You may consider me a prophet as Mr. Marcus considers himself.

     The whole plan to bring ‘multi-culturism’ to the West is merely a variation on the Biblical story of the Tower of Babel.  Just as the story of the expulsion from the Garden of Paradise shows the contradiction of the Jewish mind in which Semitism and anti-Semitism exist side by side so the story of the Tower of Babel that is a product of Jewish aspirations merely elucidates the principle of divide and conquer.  The original notion said to be that in the building of the tower all spoke one language hence they could effectively coordinate their efforts.  ‘God’, or the Jewish intellect, realized that if they spoke many languages i.e. if ‘multi-culturalism’ were introduced the peoples would not only not be unable to coordinate their efforts but there would be perpetual fighting.

     Hence ‘multi-culturalism’ was introduced into Europe and America after the holocaust.  That the Euroamericans would eagerly buy such a bill of goods shows what superb salesmen the Jews are.

     Mr Marcus rather confusingly posits the origin of Lettrism to 1952 but then, if I read correctly, attributes the invasion of Notre Dame in 1950 to Isou and the Lettrists.  I’m sure if I make Lipstick Traces my life’s work all will come clear.

     At any rate Isou and disciple somehow kept Lettrism alive until 1957 when Guy Debord became involved and began the conversion  of Lettrism to Situationism.  Situationism somehow became involved with Theodore Adorno and the Frankfurt School.  As soon as things calmed down in Europe and the Jews were safe again Adorno and the School sans Herbert Marcuse returned to the scene.  Thus in this mysterious way Debord and the Situationist International, Adorno and the Frankfort School and Greil Marcus are brought into the same bundle and Mr. Marcus assumes his prophetic role.

     It takes a tangled mind to tell a tangled tale.

     The next stop on Mr. Marcus’ itinerary is entitled The Attack On Charlie Chaplin.  A review of that will follow in Part VII.

A Review

Greil Marcus: Lipstick Traces

Part V

The Crash Of Yesterday’s Art

by R.E. Prindle


     At this stage of the review it will turn into a secret history of the secret history.  Since last writing I have read Mr. Marcus’ opus on Dylan’s Like A Rolling Stone, The Dustbin Of History and Mystery Train plus a few articles available on line.  The qualities not as apparent from a volume or two become more apparent when enough material is read.  No writer can write several hundred pages without revealing himself and his intentions.

     Thus it becomes clear that Mr. Marcus was reared as both a Communist and a Jew.  Of course he uses the palliative, socialist.  He seems to have come from a privileged background while having received a Jewish conditioning.  He was born in the summer of 1945.  His father, Greil Gerstner, died during WWII so he must have been adopted by his stepfather, obtaining the name of Marcus.

     As part of the Critical Theory of The Frankfurt School he has been trained to view life as one tragedy after another.  Whereas in the Western tradition we are trained to see life as a series of adventures in which if we triumph, good; if not, then efforts must be taken to rectify the situation.  There is no mystery in situationism; it is just the way it is.  Thus the Westerner even more that the Jewish Guy Debord is trained as a situationist.

     In his criticism Mr. Marcus unremittingly condemns the United States as fatally flawed and ripe for destruction.  As this is his vision he is compelled to work toward its realization.  This might be considered strange because when his grandparents or great-grandparents landed on these shores c. 1900 they thought they had found the Promised Land.  So what happened in the years between then and now to turn the Promised Land into the shitheap Mr. Marcus sees?  Nothing.  The conditioned Jewish character merely asserted itself and Paradise turned into fecal matter.  One might look to Freud for a solution but I think the answer can be found even earlier in that ridiculous Holy Book of the Jews that Westerners call the Bible.

     Now, they are always looking for a paradisical ‘situation.’  According to their Holy Book 5700 and some odd years ago which is when they believe that the world was created they lived in the literal Paradise.  All they had to do was keep their nose clean and mind their manners.  So as to leave room for no mistakes their mentor God, or as Jews spell it G-d, told them all of Paradise was theirs to enjoy but they must never eat of the fruit of a forbidden tree.  Pretty clear wasn’t it? 

      So then the Jews defied their mentor by eating the forbidden fruit.  This act enraged their mentor so greatly he picked them up and bodily threw them from Paradise thus beginning a very long list of expulsions.  Also their God did not fool around.  He was unforgiving telling them to never come back at the same time setting up a guard who couldn’t be fooled to make sure they never did come back.  Thus the first act of the conditioning of the Jewish people took place.

     So, the scenario is that the Jews are welcomed, then the Jews repel  mentor or hosts, the host eventually becomes sufficiently angry with the Jews to expel them from their midst.  This scenario has been repeated for, by Jewish calculations, 5700+ years.

     C. 1900 Mr. Marcus’ ancestors arrived in what they jubilantly described as the Promised Land, in another word, Paradise.  They prospered mightily.  Mr. Marcus himself is the product of that prosperity but, like the Jews in the Garden of Paradise, Mr. Marcus is busily trashing the Land of Promise.  As he sees it the United States is fecal matter that has to be flushed down the toilet.  Further he wants you to view the United States the way he does and trash the only home you have ever known or will ever know.  Mr. Marcus is a dual citizen; when the country is trashed he and his successosrs will just move on as they have always done.

     That’s the short form.

     Now, Mr. Marcus and his fellow culturalists have declared war on the Aryan species as well as on the United States and, actually Europe.  They will settle for nothing less, according to their spokesperson Mr. Noel Ignatiev, than the abolition or genocide of the entire species, one billion strong.

     While this goal can be achieved by psychological means, indeed is well advanced, the fun comes from openly fuddling people.  To do that one needs a power base.  A power base was first achieved in Russia in 1917 but that one slipped through their hands.

     But then this summer Sarkozy got himself elected President of France thus placing the power of that State in Jewish hands.  One of the first things Sarkozy did was to begin to distribute French atomic weapons to France’s enemies.  Unless the Jews and Moslems are secretly allied this act seems suicidal for the Jews.  Who knows maybe it has reached that point in Jewish minds.  It should be clear to all that as there is no God  the story of Paradise is merely a reflection of the Jewish ego.  In the search for anti-Semitism it is quite clear that it is a product of the Jewish outlook.  In the conflict within the Jewish mind God became the first anti-Semite.  The whole Jewish scenario develops from this inner psychological conflict.

     A second thing that began happening after the Sarkozy election was that key Jews were beckoned to France for instructions in somewhat the same manner as Judaeo-Communist revolutionaries returned to Russia just after the October Revolution when as Mr. Marcus quotes Trotsky as saying, the Mensheviks were tossed into the dustbin of history.

     Mr. Marcus was called to France in July of this year under the auspices of The Cartier Foundation For The Contemporary Arts [ http//www.time.com/time/printout/0,8816,1649503,00.html  ]

ostensibly to give his views on Buddy Holly.  Whether Mr. Marcus actually met with Jewish conspirators in private to receive instructions I can’t say but it would have to be proved to me he didn’t, especially as this ‘cultural’ forum turned into a podium for America bashing in which Mr. Marcus gleefully participated.

     Speaking of Elvis Presley and Jackson Pollack the director Alain Perrin described them as “Two young people living in a society that they want to provoke to rebel against, and to mock sometimes.”  I think perhaps Mr. Perrin is projecting his and France des Juifs’ opinion on Elvis, I don’t know about Pollack.  I never had the notion that Presley was mocking America and I wouldn’t have liked him if he did.  The early Rock n’ Rollers were not mocking anything they were just trying to break in a different musical form against great opposition and make it big.  That opposition merely had to do with people who were shocked at the musical departure.

     I graduated HS in ’56 and was one of a minority who accepted the music in my class.  The new era began really with the class of ’57 when the form had penetrated to the youth consciousness.

     The skewed Mr. Perrin goes on to say “This was the America that had liberated the world of Nazism…’  Surely Mr. Perrin meant France although in his skewed imagination it may have seemed like the world. “…but this was also a racist America, a puritan America, (no capital.  It might be possible to say America was still Puritan but it was not puritan.) a hyper conservative, McCartyite America.”  Well, one out of five ain’t bad especially for France as America did what the French couldn’t do themselves.  I hope Mr. Perrin wasn’t offended that America wasted its own men, some of whom were my relatives, money and resources to save an ungrateful France from itself.  As I understand it there was no scarcity of French collaborators in that glorious lovely Liberal Communistic ‘pure’ France of Mr. Perrin’s imagination.  One would expect a Communist of Mr. Perrin’s stripe to be opposed to weird old ‘conservative’ America.  But, then I’m sure he doesn’t want to talk about that in an open forum.  No one expects gratitude from the French but a little realistic appraisal of the past wouldn’t hurt.  Liberals are Liberals, but, geez.

     Mr. Marcus slips and slides in with his two cents worth: 


     In the 1950s (ten long years note) the official story was that America was back to normal (the Depression?) women were out of the factories, (happened in the forties) everything was working like clockwork, (not so, but Mr. Marcus was a nine year old and it may have seemed so) but underneath this was an entirely different story (secret history again) of confusion, conflict, desperation, (how did I survive?) desire for grandeur.  Life could have been an epic story, life was dangerous ( aw,  come on, Mr. Marcus, don’t put me on with all these cliches) you could step outside the role that had been preordained for you.  (by whom?)


     Now, let’s see.  How many cliches are in that novelistic approach to history.  Mr. Marcus says he was born in the summer of ’45.   McCarthy was shot down in ’54 so Mr. Marcus would have been eight or nine. His memories of the fifties then are pretty thin so he must be reading the Time-Life Decade series for the 50s.  Even then they wouldn’t have made such puerile remarks.  Well, I’ve read the series and they do, so…  My memory of the time was that there was no normal.  The discord was right on the surface and that was no fooling around.  Our town was virtually in the hands of the Chicago Outfit.  Jimmy Hoffa and the Teamster bomb wielders were serious, the Korean War, the Commie Threat (that Mr. Marcus and the French refer to as ‘McCarthyite America’) produced great tensions.  The Atom Bomb, my god Mr. Marcus don’t you ‘remember’ the Rosenbergs in 1953?

      If you’re going to try to write history give up your sophomoric Jewish presentation.  Hunker down.  Get objective.

     Mr. Marcus has his own secret history and mocking America is central to it.

     In concentrating on the nonentities clowning it up in Zurich Mr. Marcus fails to relate Da Da to the course of the evolutionary development of Western society thus exaggerating the importance of these clowns grossly.  Their effect on the development of society was minimal.  The Da Da art movement did have some effect.  Bear in mind that Da Da is merely a state of mind shared by a percentage of any age cadre from say 17 to 25 or so when they are struggling to find their way.  Finding one’s way isn’t easy and does have its stresses.  The situation of this particular group occurred as the Scientific Revolution, the real revolution, begun in 1859 with the publication of Darwin’s Origin Of Species was disrupting Western society to the maximum extent.  Science challenged religious concepts including those of the Jews.

     The ethos of art had run its course having achieved all that representational art could achieve.  The search for novelty or an avant garde, if you will, produced Cubism, Da Da and Surrealism.  Thus these clowns in Zurich who produced nothing but had a narcissitic crush on themselves were presumably able to make a noise.  In reading Mr. Marcus  one isn’t sure exactly what that noise was.  In any event the Cabaret Voltaire changed nothing that had not already been changed or was changing.

     Other than rescuing this crew from the dustbin of history and amusing us aside it is difficult to understand what significance Mr. Marcus finds in this clown act performing hackneyed stunts.

     He somehow segues this act into his following act, even more insignificant than the opening act.  The Crash Of Yesterday’s Art concerns the career of another complete and insane non-entity, one Isador Isou.

     In order to give some significance to Isou he manages to compare him with both Elvis Presley and Tony Curtis.  Not bad footwork for a fancy dancer.

     As is usual with Mr. Marcus all the people he considers important are Jewish and those he denigrates are goys.  Thus in the comparison between the earth shaker Presley and the non-entity Isou the latter comes out as the more signficant of the two.  How Tony Curtis comes in isn’t clear unless it is his famous pompadour that is said to have influenced Presley’s hair style.  At any rate the two Jews to one goi with Presley basing his hair style on one Jew while the other’s portrait often mistook him for a ‘pop star’ which it would appear raises him to a level slightly above Presley seems relevant in Mr. Marcus eyes.  I don’t know, hard to dicipher.

     As Mr. Marcus describes the megamaniacal Isou it would appear that he could have been at the famous dinner at the Maison de Sante described by Edgar Allan Poe in his famous The System Of Dr. Tarr And Professor Fether.  In fact much of Mr. Marcus writing reminds me of nothing so much as Poe’s lady who tried to get outside her clothes rather than in them.  I have great difficulty taking Mr. Marcus discussion of Isou as seriously as he seems to, although I find the story a fascinating bit of trivia.

     Leaving Isou’s manias aside it seems that his contribution to the deconstruction of Western Civilization was to insist that paragraphs, sentences and words were meaningless while the only thing of importance was the bare letter itself.  A building block.  You see what I mean by trying to get outside one’s clothes than inside.  Mr. Isou grandiloquently called his ‘organization’ The Lettrist International with he and his other member.  He wished to establish the Lettrist Dictatorship.

     Actually as a Jew Isou was merely following the letter mysticism of the Jewish alphabet in which not only does each letter have incredible symbolic meaning but each curve and segment of a letter is also endowed with incredible symbolism.  A whole several hundred page volume could easily be written concerning the letter aleph and each additional letter thus adding up to a magnificent Harvard five foot shelf of the Jewish alphabet.

     Somehow Charlie Starkweather and Caril figure in here but I’ll have to go back and study to get it which would scarcely be worth it.  I’ll see if I can find the time.

     Mr. Marcus also recasts a version of his musings on what appear so be his favorite song:  It’s Too Soon To Know of the mid-forties.  Favorite songs are often inscrutable to anyone who doesn’t ‘get it.’  I know the song and while I like it, I don’t get it like Mr. Marcus does.  On the other hand I don’t expect Mr. Marcus to get a couple of secret favorites of mine, one by a singer whose name I forget, Clint something or other, although I should still have the 45.  I got the disc in a close out mystery package of 10 for 99 cents.  The song goes something like ‘Bertha Lou, Bertha Lou, I wanna conjugate with you.’  I like it however I have never met another person who has ever heard the song.

     Another favorite of mine is by the Crows (Orioles-Crows- the bird, the bird, the bird’s the word) of Gee fame that reads something like this:

I’ve got a girl named Rosie Lee,

I wanna tell ya what she did for me.

She took me in when I had nowhere to go

And that is the reason I love her so.


Face like a tadpole, shape like a bear,

But when it comes to lovin’ Rosie is there.

     The lyricist is certainly no Allen Ginsberg but as you can see both these songs and Ginsberg’s Howl are concerned with a certain word begining with the letter F.  And the usage is indeed international.  God bless Isidore Isou and the Lettrist International.

     Well, enough of this funnin’, let’s get on with the serious stuff.  So Isou and his Lettrist Interntional is going to segue into Guy Debord and his Situationist International but first we have to go to church.  It seems to me that I have a vague memory of Part VI so the invasion of Notre Dame must have been a true international scandal.

Part VI Follows.

Lipstick Traces: Greil Marcus

A Review

Part IV

The Art Of Yesterday’s Crash

 by R.E. Prindle


     As I mentioned in Part II Mr. Marcus seems to consider himself first an Old Testament prophet prophesying fire and destruction for the United States.  Secondly he sees himself as a continuator of the Frankfurt School or New School Of Social Research and thirdly the spiritual successor to Guy Debord and perhaps the new leader of the Situationist International.

     In the situations under consideration he turns his New School For Social Research and SI sides up.

     Now as it happens that when I attended Cal State At Hayward one of the professors was a fellow named Theodore Roszak.  Mr Roszak wrote a volume called The Making Of A Counter Culture while teaching at Cal State; probably something called American Studies or some such, I can’t remember, which these Frankfurters always aim for and we’ll see why.

     We are now talking ’64-’65.  Sixty-five is probably best known for the Black rebellion in LA’s Watts district.  That kicked off the violent revolt of the Blacks which smolders on today flaring up here and there.  Thus in Mr. Marcus’ The Shape Of Things To Come he prophesys blood in the streets.

     It was also the beginning of the San Francisco Scene.  The San Francisco Mime Troop- a Communist outfit- had been active in street theatre for some little time.  Then Kesey organized the Merry Pranksters, Owsley entered the picture and the Acid Tests began.  I was invited to the Acid Test but declined to go.  Couldn’t see the social utility; it would have been interesting but I’m not sorry I missed it.

     Roszak.  So everybody assumed that this book he advertised he was writing called The Making Of A Counter Culture was about what Jack Kerouac called ‘The Rucksack Revolution.’  These were the post-British Invasion days so long hair was slowly making inroads into the East Bay.  I didn’t have long hair but I had a strange long ducktail from the fifties.  Cal State was on a windy plateau so everytime I went outside I looked like a hurricane walking around.  This was enough for the profs and administration who were terrified that the Free Speech Movement would edge up from Berkeley to classify me as a ‘radical.’

     I was sent to Roszak as he was presumably writing a book on the ‘counter culture’ which is what the hip movement was known as.  I found Roszak one guilty customer.  Dark mind too, repellent.  He thought I was sent as a spy.  That increased his guilty reaction.

     When his book came out it didn’t have anything to do with a Hippie counter culture.  It was all about the Frankfurt School, Marcuse et al.  The book was about the Jewish Revolution.  Roszak must have thought the ‘anti-Semites’ sent me.  So, now I understand Mr. Marcus; use of the term ‘Secret History.’  He doesn’t just mean obscure.  Roszak was part of history being made but it was unintelligible to the uninformed mind.  Even though the Frankfurt School was operating openly I don’t know if anyone knew that subterranean history was being lived in the open but there it was as plain as day.  Roszak was a continuator.  I don’t know if Mr. Marcus knows Mr. Roszak but it wouldn’t surprise me if he did, they are both Jews etc, but as a continuator of the Frankfurt School Mr. Marcus may be described as having the baton passed to him through Mr. Roszak.  Mr. Marcus is more prolific and effective while being more obscure and secretive than Mr. Roszak.  The reader, even the informed reader, probably doesn’t know he is being spoon fed Semitism.

     Mr. Marcus even allows himself to be called by the presumptuous title of The Holy Greil even further insulting his subordinate Euroamerican culture.  I don’t mind Mr. Marcus and others insulting the half-Jewish Jesus but I do want him to keep his hands off the essence of Euroamerican Culture.  I can accord Mr. Marcus neither Holiness nor any association with the Grail stories even though his style incomprehensible as it is is pretty entertaining.  Must have learned that from Old Bob.

     Mr. Marcus establishes himself as a continuator of the Frankfurt School and then says he is going to criticize the living crap out of everything.  Well, alright, OK!  I would like to point out however that criticism is not analysis.  Any fool can criticize but analysis requires a little science.  There’s a serious rub in Mr.  Marcus’ style, not science, all, well, not all, blather.

     I will give him credit for not beginning this Situation with the Armory Show.  My god and Jesus H. Christ we know how that changed America but, well, as an Israeli citizen and man of the world Mr. Marcus isn’t talking about America or anything as earth shaking as the Armory show.  No.  He’s talking about six inconsquential nerds pulling sophomoric stunts in Zurich in 1916 while there was a war going on.  All a bunch of draft dodgers too, except for the woman doing the splits with the madonna face  whatever one of those is.  I been looking but not finding.

     These six Mr. Marcus informs us created Da Da.  They gave their shenanigans a name that stuck.  While Mr. Marcus seems to revere their stuff I have to confess that it doesn’t seem much different than the shenanigans of any other generation.  Da Da is just a state of mind that certain people experience at a certain stage and condition of life. 

     If Mr. Marcus had looked around Berkeley and the Bay Area he would have seen plenty of evidence of the state of mind in the Mime Troupe, the whole San Francisco Sound was Da Da.  Kesey was Da Da, and everyone was pulling the same kind of stunts with the same results.  That trick with the splits and madonna face is so commonplace it doesn’t bear mentioning.  A guy playing an imaginary violin?  Whew!  Wow, who in the world could ever have thought that one up?

     The hell with this Da Da crap.  Real men dying in the trenches and these guys are scraping an imaginary violin?  Not too impressed, Mr. Marcus.  Let’s get on to the real stuff.  This gets passed over by The Holy Greil.  The foundation of the Frankfurt School c. 1923.  Here’s the real crux of Mr. Marcus; psychology, the culture wars between the Semitic intellect and the European intellect.  A lttle clash of loyalties here in that dual citizenship Mr. Marcus holds.

     While the clowns in Zurich, for that is what they were , were trying to live down their antics at the  Cabaret Voltaire the real revolution was forming in Frankfurt.  This the revolution of which Mr. Marcus is the continuator.  This is the real substance of Mr. Marcus’ work.  Nice work too, don’t get me wrong.

     I’ve done some work on this subject but I’m going to refer any possible readers to this web page for a quick history of the Frankfurt School:  http://no-maam.blogspot.com/2007/07/great-historical-outline-of-cultural.html   The article was posted by Mr. Rob Fedders.  Bear in mind this analysis represents the foundation of Mr. Marcus thought, intellect and purpose.  His writing makes much more sense in this context.


     Before World War I, Marxist theory said that if Europe ever erupted in war, the working classes in every European country would rise in revolt overthrow their govenments and create a new Communist Europe, but when war broke out in the summer of 1914, that didn’t happen.  Instead the workers of every European country lined up by the millions to fight their country’s enemies….After World War I ended in 1918, Marxist theorists had to ask themselves a question:  What went wrong?…two leading Marxist intellectuals, Antonio Gramsci in Italy and George Lukacs in Hungary…independently came up with the same answer.  They said that Western culture and the Christian religion had so blinded the working class to its true, Marxist class interests, that a Communist revolution was impossible in the West, until both could be destroyed.  That objective, established as cultural Marxism’s goal right at the beginning, has never changed.


     There’s a little secret history for you.  The Frankfurt School employed the political theory of Marx, the psychological theory of Freud and the relativistic nonsense of Einstein to undermine Western culture backed up by the ever potent charge of ‘anti-Semitism.’  Their BS could easily have been resisted and rejected but for their alliance with Liberals.  To merely state that a critic was anti-Semitic was enough to set the conditioned Liberals on the accused and make him or her a non-person in society.  Thus without their Liberal slaves the Frankfurt School would not have been that effective.  Liberals are the true enemy. 

     Now, skipping the interim machinations, by the time of the Free Speech Movement the Jewish Revolution had been nearly completed.

     In addition to the music the introduction of hallucinigens made the capture of the whole generation child’s play.

     As with the so-called Free Speech Movement the problem was not one shared by society as a whole which was functioning quite nicely, thank-you, but a cultural problem within the Semitic species.  As always the inability of the Semites to compete effectively with the Indo-Europeans, or to be brief, Aryan species was the crux of the problem.  The Terachites challenged the Ur of the Chaldees.  In the ancient conflict between the Semites and the Aryan Sumerians the latter were centered about Ur while the Semites were centered further North.  So Abram as a Semite was challenging the Aryan Sumerians who had understood and developed Astronomy.  The Egyptians were an amalgam of the HSII Libyans and the Egyptians of the Upper Nile valley.  In my opinion the intellectual content of Egypt was injected by the Libyan refugees from the post-ice age flooding of the Mediterranean.

     The Semites then came into collision with the superior intellecual and scientific civilization of the Hellenes more especially in Greek Alexandria where Philo attempted to subvert Hellenic science in favor of ‘Talmudic’ mythology.  The Romans who created the most amazing empire the Mediterranean world had ever seen once again, as it were, illuminated the inferiority of the Semitic intellect.  The Jews set about to subvert and destroy the Roman Empire which, in my opinion they did both in the exhausting Roman-Jewish Wars and the succeeding Pauline Judeo-Christian subversion.  Matters were then stalemated for centuries until Aryan science finally pushed through the Judeo-Christian meshes in the seventeenth and eighteenth centuries.

     Once again the inferiority of the Semitic intellect was displayed.  Marx, Freud and Einstein created the basic non-scientific means posing as science to subvert the Aryan scientific intellect.  The groundwork laid by the big three, the epigone went to work.  The nitwits of Da Da may be considered shock troops while the Frankfurt School- The Institute For Social Research- formed c. 1923 began the serious work of undermining Western Civilization.  Once again, Mr. Marcus seems to consider himself first a continuator of the Frankfurt School, a reincarnation of Guy Debord and then in The Shape Of Things To Come to graduate to the role of a Hebrew prophet.

     Now, in every instance in which the Jewish Semites have confronted the Aryans they have failed to excel them although taking advantage of the reluctance to face the problem directly on the part of the Aryans the Jewish Semites have been able without exception to destroy the Aryan achievement.

     The Jews also insist that they are the Chosen People of mankind just as the Arabs insist that they are The Central People.  Chosen, Central are the same things.  We are talking a characteristic of the Semitic species.  Yet evolutionarily they are constitutionally or genetically inferior to Aryans.  No matter what happens they will never be able to match or sustain Aryan achievements.

     What to do?  I know most readers have never delved deeply into this area of study so that the reader may be astonished by what is going on and find it unbelievable.  It isn’t.  Realizing that they can never excel the Aryans the Jewish Semites have resolved to exterminate- that is commit genocide- on the whole species.  They propose to and are fairly well advanced in their program to eliminate a species of over a billion people.

     Astounding and unbelievable isn’t it.  Well, while you were sleeping astounding developments were in progress.  It is time for the sleeper to awake.  Be patient with me and I’ll explain how it is being done and why Mr. Marcus may possibly see himself advance from Hebrew prophet to Judge-Penitent of the Aryan peoples.  (See my review of Albert Camus’ The Fall here on I, Dynamo.)

     The plan is available on line at a site run by a former Harvard professor, Noel Ignatiev called Race Traitor.  Mr. Ignatiev believes in races even though he is a Jew and the current Jewish line is that races do not exist.  The first stage of this program is part of psychological warfare based on the Freudian model.

     Mr. Ignatiev as spokesman for the Jewish culture asserts that all the evil in the world proceeds from the Aryan ‘races.’  It is true that the Jews argue in other situations that ‘race’ exists only as a social construct however as ‘race’ is useful in this instance the idea is reconstituted.  The approach is a key tenet of ‘critical theory’ in which the critical base point is one’s relative need at the moment.

     As all evil proceeds from the Aryan ‘race’ it follows that if the Aryan race is eliminated from the face of the earth by ‘any means necessary’ that evil will disappear from the world.  This notion is apparently a variation on the eighteenth century Jewish notion of Jacob Frank that Jews will only become good when they expend all the evil in their system.  Apparently at that time Jews were the evil ‘race’ but at some point between then and now they have expended all the evil in their system and have become ‘good’ along with the rest of the world.  All this stuff sounds good according to Jewish ‘critical theory’ but falls apart under ‘Aryan’ scientific analysis.

     The problem is the obvious Aryan superior intelligence so that Mr. Ignatiev invents the concept of  ‘White Skin Privilege.’  Using critical theory the only reason Aryans or Whites, to which term I will revert, have obtained the prominent position among the ‘races’ is because Aryans have White Skin.  Real Tarzans if you know what I mean.  Thus the superiority is based on cosmetics.   Change the cosmetics and the superiority will go away.  Not bad reasoning really.  It therefor follows that if Whites can be persuaded to give up their ‘White Skin Privilege’ why, the Utopia will become a reality and evil will disappear from the world.  I’m not making this up.

     Therefore from sheer shame Whites should voluntarily abandon ‘Whiteness.’  Remember this line of reasoning comes from a Harvard graduate and a Harvard professor.  I would have been laughed out of a ‘third rate’ college like Cal State for proposing such nonsense.  To my knowledge neither the Jewish culture or Harvard University have ever publicly repudiated Mr. Ignatiev so one must assume he speaks with the full approval of both.

     Mr. Ignatiev also calls his program the New Abolitionism calling for the abolition of the White ‘race.’

     The easiest course, or least painful, for Whites to abolish themselves, actually, is to marry Black people.  Any resulting offspring will be non-White so that if all Whites could be persuaded to do this ‘Whiteness’ would disappear within, well, a generation.

     Realistically this isn’t going to happen although historically conquerors have killed the men and kept the women.  Without White men White women will have to produce colored children.  This was actually done during the Haitian revolution from France.  The men were killed and the White women were told that they could live only if they served as wives to Black men.  Most of them did.  Thus we have the result of Haitians being the most beautiful people in the world while having constructed the most successful and glorious society not to mention culture.

     Now, if you follow what’s happening in education, kindergartners are being taught to be homosexuals.  Is it necessary to say that homosexuals cannot reproduce themselves?  It therefor follows that if White boys are raised as homosexuals White women will have to turn to Black men while if such a program is successful White men will diminish say by a half life a generation.  Thus another method to eliminate Whites.  And White people are dumb enough to go for it.  Can’t ask for more than that, can one?

     And then for the remainder of hard cases there are always industrial means to eliminate them.  Gas chambers or whatever means necessary, who cares?

     So as you can see Mr. Ignatiev is not theorizing but helping to implement a program that is well advanced.

     Now then, the strength of the US economy and well being of Whites as a result is a standing rebuke to the other ‘races’ of the world and a cause of the most destructive envy.  We don’t want to look at Zimbabwe and South Africa do we?  Naw.  How’s that going to prove anything?  Thus jobs were exported out of the country to everywhere.  The US economy as a whole was picked up and moved to China which for all practical purposes is run with the lowest cost slave labor possible.

     The unions have been broken and the well being of the working man has been destroyed by unrestricted Mexican immigration which is lower cost.  Technical jobs have been given to lower cost immigrant labor via the worker visa program.

     Back in the eighties the savings and Loan industry was savagely looted.  One of the beneficiaries of that theft was the family of the current President of the United States.  The housing debacle which will be a blow from which the US economy will not recover was engineered from the start to impending finish with the full knowledge of that President.

     It only remains to gut the savings of the older generation.  At the appropriate time this will be done by inflation.  At that point the United States and the West will be defenseless.  One can’t imagine what the Liberals have to gain from this.

     So, within the matter of a few decades ‘White Skin Privilege’ will be just a memory.  Of course other ‘situations’ may enter in to redirect the course of history.  No one can accurately prophesy including Mr. Marcus.

     Thus if Mr. Marcus lives long enough he may finish his life as a ‘Judge Penitent’ choosing who may live and who not.

     I will end this Part here and meld the end of The Art Of Yesterday’s Crash with the next situation The Crash Of Yesterday’s Art.

Greil Marcus

Shape Of Things To come

Second Thoughts

A Review

by R.E. Prindle


     Freud in his 1921 essay Group Psychology And The Analysis Of The Ego laid down the basis of what would later evolve into the concept of Multi-Culturalism.  Thus each culture is a discrete entity governed by its own cultural iudeals or Ego.  Judaism is a culture with a set of ideals and a culture.  Americanism is a set of edeals without either an ego or culture of its own.  Hence ‘Americans’ are eclectic borrowing from many cultures while believing in none and also while granting a sort of sanctity to these cultures because of the lack of its own. 

     From the Jews ‘American’s borrowed the concept of the Chosen People and redeemers of the world.  Greil Marcus in his latest effort ‘The Shape Of Things To Come’ seems to know this but I don’t think he understands its implications.  Mr. Marcus seems to be motivated by a sdort of cultural envy.  Indeed the Jews and Americans are in competition for the role of the ‘Chosen People.’  Perhaps it is significant that like all Jews Mr. Marcus has dual passports.  He is at one and the same time an Israeli and an American.  In other words he is neither one nor the other but like any other American he blesses the non-American side of his split identity.

     Mr. Marcus in this volume of prophecy takes on the role of one of the ancient prophets of Israel.  He seems angry that John Winthrop would borrow the description of Jerusalem as a City On The Hill and apply it to New England.

     Mr. Marcus takes offence at this and comes back to it repeatedly. 

     As he points out that as with the Jews those who form a covenant with God will be scourged by God as the Jews have repeatedly been.  He seems to think that the colonial predilection for slavery is somehow offensive in the eyes of God although slavery was an institution among the ancient Jews for thousands of years.  Solomon the Wise sold his own people into slavery to pay for his temple.

      American slavery, offensive to the nostrils of any decent person, was first White then evolved to Black when scoundrels of various nationalities, including a hefty proportion of Jews, unloaded shiploads of Africans in America.  The Blacks eventually displaced the Whites but there is many an African-American with the blood of a raped White ‘servant girl’ in his veins.

     All this is neither here nor there.  The point is that Mr. Marcus believes the day of retribution is at hand.  That is The Shape Of Things To Come that he prophesies.  He seems ato take a fair amount of pleasure in his visions of blood running in the streets.

     Having established the notion that ‘Americans’ are going to get their comeupance he then goes on to give the Jewish cultural vision of America and Americans.  He relies on John Dos Passos USA trilogy and the paranoid delusions of Philip Roth both of whom are Jewish.  It is a characteristic of Mr. Marcus to cast his fellow Jews as virtuous while the evil persons are goyish.

     As it chances I have read Dos Passos’ USA trilogy a trilogy of times.  While able to plow through the occasional Roth volume no more than once although I did enjoy The Breast immensely.  Perhaps Mr. Roth’s novelette may explain his psychology.

     Now, Mr. Marcus entitled on of is earlier volumes The Weird Old America.  I tranlsiterate the title into The Bad Old America.  thus Mr. Marcus emphasizes the negative appraisal of America by Dos Passos.  There is no denying the negative side of any culture. But it is wrong to speak only positively of the Jewish culture and only negatively of the American.  My undersanding of the work has changed with each reading so that by the end of the third volume, The Big Money, in my third reading I was ready to vomit.  If one were to contrast Booth Tarkington’s Penrod and Seventeen with the USA trilogy you would not only think yourself on another planet but in a parallel universe.  I personally remember the evils of growing up but I also remember the joys.  I have seen the slums, lived in them, but I have also seen the magnificent college campuses before the really big money, concrete and masses of humanity arrived.

     Yes, I have had my moments of displeasure too but I have also experienced the exaltation of delight.  More importantly so has Greil Marcus.

     After having condemned the Bad Old America of the past from the landing of the Pilgrim Fathers on Plymouth Rock to 1936 when Dos Passos finished The Big Money to the present.  All right Mr. Marcus, I’ve got it.  We’re sorry for Hitler did to the Jews.  OK?  But let’s not forget what the Jews did to the Amalekites among numerous others.  There are no innocents.  Right?

      As an example of how foul small town American ‘really was’ Mr. Marcus offers us the vision of an apparent psychopath, movie maker David Lynch.  Mr. Lunch, apparently from Boise was responsible for an aborted TV series, Twin Peaks and a movie sequel called Fire Walk With Me which apparently entranced Mr. Marcus.

     Well, why go into details.  Suffice it to say who would want to live in such a hell hole.  If Mr. Lynch’s vision coincides with that of Mr. Marcus I’m amazed that he can take any pleasure in living let alone living in a place like Berkeley.  Seems exceedingly masochistic to me.  Mr. Marcus’ fellow Berkeleyans had better hope that he never takes it in mind to reveal the real Berkeley steeped in crime and infamy.

     Well, I could go on like this but I’m getting tired of all this negativity.  I do agree with Mr. Marcus that it is a wicked, wicked world out there that requires a lot of caution and precaution to more or less successfully negotiate it.  There is a lot of evil out there to prophesy but the real danger Mr. Marcus as another Jewish prophet, Jacob Frank once foresaw is the evil within.  urge thyself Mr. Marcus.  I won’t be moving to Israel anytime soon to escape the evils of America.

End Of Second Thoughts