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Author Topic: The case for Henry Rollins and Wash. D.C. punks of the 80's were gov. ops  (Read 5448 times)
Murray Von Hayek
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« on: April 02, 2011, 01:36:06 PM »

There is something strange about Henry...Rollins.
4/2/11
David Cacasmeller ( not real name)

This is an unorganized pile of info pertaining to the strange connections between the supposed DIY punk/straight edge scene started in the 1980's Washington D.C. and the Military Industrial Complex. Check it out and please feel free to add to it or critique it. Thanks.

In the star studded hills of Nichols Canyon or more commonly know as Hollywood Hills, is the home of Henry Garfield. The name rings of prestige and wealth doesn't it? He is quite famous , but not for what you may think.

Born Henry Lawrence Garfield in Washington, D.C., he was raised in the elite Glover Park neighborhood of the city. His parents divorced when he was two years old, and was raised by his mother. His father was a military man who disciplined Henry with his fists, and his mother was considered a bit unhinged. Henry has even told Rolling Stone in 1992 that he was sexually molested many times as a child.  As a child, Henry suffered from depression and low self-esteem and was put on Ritalin.[1] He was raised primarily by his mother, Iris, who taught him how to read before he was enrolled in kindergarten;[2] however, due to "bad grades, bad attitude, poor conduct," he was soon enrolled at The Bullis School. The Bullis School is an independent, non-denominational, co-educational college preparatory day school for grades 3-12. The school enrolls 640 students and located in Potomac, Maryland in the suburbs of Washington,
DC. It primarily caters to the wealthy and affluent families in Washington DC area and is known for attendance by current and past billionaires children.
Bullis was founded in 1930 by Commander William "Joey" F. Bullis, as a preparatory school for the United States Naval Academy. The school moved in 1934 to suburban Silver Spring, Maryland and began its four-year college preparatory program. In the 1960s, the school moved to its current location in Potomac, Maryland and in 1980 became co-educational.

According to Henry, the Bullis School helped him to develop a sense of discipline and a strong work ethic.[1] It was at Bullis that he began writing; his early literary efforts were mainly short stories about "blowing up my school and murdering all the teachers."[2] Despite the relative affluence of Glover Park, for Henry "it was a very rough upbringing in a lot of other ways. I accumulated a lot of rage by the time I was seventeen or eighteen." We now know Henry as Henry Rollins.

Henry soon got interested in music. He started a punk band named State of Alert. His friend and S.O.A. drummer,Apart from growing up to marry a U.N official, Ivor Hanson would host the band practices at his house. Since Hanson's father was a top ranking navy admiral his house happened to be at the Naval Observatory, The offical residence of the Vice President and top Naval Brass. Everytime the young punks wanted to get in they had to escorted by armed Secret Service.
Henry had many friends in the neighborhood, who were also from wealthy families involved in military and government. They too also were in punk bands. One friend was and still is, Ian Mackaye.

Ian MacKaye was born in Washington D.C. on April 16, 1962, and grew up in the affluent Glover Park neighborhood of Washington D.C. His father was a writer for the Washington Post, first as a White House reporter, then as a religion specialist; the senior MacKaye remains active with the socially progressive St. Stephen's Episcopal Church. According to MacKaye's longtime friend,Henry, MacKaye's parents "raised their kids in a tolerant, super intellectual, open-minded atmosphere." Mackaye's Father moved the family to Palo Alto for one year when he received a fellowship at Stanford.
Ian Mackaye is most famous for starting Dischord Records and for fronting the bands Minor Threat and Fugazi. These are bands that had anti establishment messages associated with their lyrics as you can guess. Henry on the other hand decided one day with Ian to go to New York and see his favorite band Black Flag. The members of the band liked Henry so much they asked him to join the band. Sounds normal right? Considering they had a singer but he was apparently not really into to singing. Anyways luckly for Henry the rest is history he moved to California, became a well know singer/songwriter/ frontman, poet ,actor and all around success. Probably the biggest success to come from a supposedly anti establishment scene and image.

Minor Threat is most known for inventing the straight edge movement. This idea is a militant philosophy of not smoking drinking or having pre marital sex. Like every movement of a sort there are offshoots and it is now a prominant phrase in the vernacular used to describe what was once a prude or from back in your day, anal retentive. Of course not too long after starting this trend like most who do start movements or trends Ian Mackaye denounced the idea andhas distanced himself from it ever since.

Lyle Preslar is an American musician best known for being a guitar player and song writer for the hardcore punk band Minor Threat. Before that, he was the vocalist for The Extorts. Lyle Lived in Glover Park and attended the elite Georgetown Day School.

After Minor Threat dissolved, he played guitar in The Misfits, The Meatmen and the first incarnation of Samhain fronted by Henry's proclaimed best friend Glen Danzig.

After retiring from performing, he ran Caroline Records, signing Ben Folds, Chemical Brothers, and Fat Boy Slim; he was later a marketing executive for Elektra Records and Sire Records.[4][3] In 2007, he graduated from Rutgers School of Law-Newark.[4] He is admitted to practice law in the state of New York. Pretty good for just a random street punk.

He is married to Sandy Alouete, an executive at VH1 and they have a child named Romy.[4]

Preslar also won the Grammy Law Initiative Writing Prize in 2007 with an article about the RIAA vs. XM Satellite Radio.

Jeff Nelson is best known as the drummer for the hardcore punk rock band Minor Threat. He and friend Ian MacKaye formed their first band, The Slinkees, in 1979. Their next band was The Teen Idles. Nelson and MacKaye founded Dischord Records in 1980, whose first record was the Teen Idles. They continue to run Dischord together. The duo also comprised the bands Egg Hunt and Skewbald/Grand Union; both bands recorded only one single. Nelson has also played in the bands Feedbag, Three, Wonderama, Senator Flux, High-Back Chairs, and is currently in the band Fast Piece of Furniture. He also founded Adult Swim Records in 1989. An aficionado and collector of Jeep Wagoneers and Victorian architecture, Jeff currently lives in the historic "Old West End" of Toledo, OH. Waht is left out of Jeff's internet bio is the only piece of history about Jeff Nelson that is some what interesting. In "Our Band Could Be your Life" By Michael Azzerad, Jeff is described as a "State
Dept. Brat". I am guessing this is implying that one or more of Jeff's parental figures was employed by the State dept. at the time he was the drummer of an outwardly anti establishment band. He too resided in Glover Park.

Marginal Man was a punk band that emerged in the Washington, D.C. hardcore scene in 1983. Some members of Marginal Man—Steve Polcari, Pete Murray, and Mike Manos—played earlier in Artificial Peace,[1] a band which appears on Dischord Records' important Flex Your Head compilation, an essential document of the 1980s D.C. punk scene.[citation needed] The other two members, Andre Lee and Kenny Inouye, had previously been in the band Toasterhead.[1] Members of the band included

Steve Polcari - Vocals
Pete Murray - Guitar, Vocals
Kenny Inouye - Guitar
Andre Lee - Bass
Mike Manos - Drums
They released one EP, Identity (Dischord 13), and two LPs, Double Image (Gasatanka/Enigma) and Marginal Man (Giant) and appeared on the compilations, State of the Union and 20 Years of Dischord (Dischord 125).

Marginal Man played for five years before a final performance at the 9:30 Club on March 24, 1988. They reunited for a show at the 9:30 Club on August 29, 1991, and another on December 30, 1995 for the second to last show at the 9:30 Club's original location.

Guitarist Kenny Inouye is the son of Medal of Honor recipient and President pro tempore of the United States Senate, Hon. Daniel Inouye, D-Hawaii.....

What? The same Daniel Inouye who covered up Iran/ Contra? Who barred Jack Brooks from asking Ollie North about Rex 84? His son was in a punk band?Huh
I guess that is not very surprising.

Glenn Danzig
Born Glenn Allen Anzalone in Lodi, New Jersey, the third of four sons[6] born to a Protestant family of Italian, German, and Scottish heritage. His father was a television repairman and a former United States Marine Corps veteran of World War II and the Korean War.[7] Danzig and his family also spent some time living in Revere, Massachusetts.[8] Danzig began listening to heavy music at an early age, and has described Black Sabbath, Blue Cheer and The Doors as being among his early musical influences.[5]

At age 11, Danzig began to experiment with drugs and alcohol, leading him into frequent fights and trouble with the law.[9] He stopped using drugs other than alcohol at age 15.[9]

Danzig became an avid collector of occult books, horror related articles, B movie posters, Japanese animation videos, rare Japanese toys, and animal skulls. Danzig also collected comic books, and in his frustration with American comics, he began producing his own "crazy, violent, erotic comics."[10]

Danzig graduated from Lodi High School in June 1973, aspiring to become a comic book creator,[11] and professional photographer. He attended the Tisch School of the Arts and later the New York Institute of Photography.[12] Danzig eventually formed an adult-oriented comic book company called Verotik in the mid-1990s.[13]

Glenn Danzig's introduction to performing music began when he took piano and clarinet lessons as a child.[14] He later taught himself how to play the guitar.[14] Danzig started in the music business at the age of 11, first as a drum roadie[13] and then playing in local garage bands.[11] He had never taken vocal lessons, but his vocal prowess gained him attention in the local scene. Throughout his teenage years he sang for several local bands, such as Talus and Whodat And Boojang, most of which played half original songs and half Black Sabbath songs.

[edit] Misfits and Samhain (1977-1987)In the mid-1970s, Danzig started the Misfits, releasing the band's records through his own label, (originally known as Blank, then later as Plan 9).[15] Danzig had attempted to get the Misfits signed to several record labels, only to be told that he would never have a career in music.[16] The impetus for the band's name comes from Marilyn Monroe's last film, combined with Danzig considering himself to be a "social misfit."[1] The Misfits combined Danzig's harmonic vocals with camp-horror imagery and lyrics. The Misfits sound was a faster, heavier derivation of Ramones style punk with rockabilly influences. Glenn Danzig's Misfits songs dealt almost exclusively with themes derived from B-grade horror and science fiction movies (e.g. "Night of the Living Dead") as well as comic books (e.g. "Wasp Women", "I Turned Into A Martian").[1] Unlike the later incarnation of the Misfits, Danzig also dealt with Atomic Era scandals
in songs like "Bullet" (about the Kennedy assassination), "Who Killed Marilyn" (which alluded to alternate theories about Marilyn Monroe's suicide), and Hollywood Babylon (inspired by the Kenneth Anger book on scandals associated with the early, formative years of Hollywood). In 1983, after releasing several singles and three albums, and gaining a small underground following ( I might add here that they were prominant in the washington D.C. punk scene and he met Henry where they had a secret code called 138 and even sang a song about it where henry sings a long. The lyric are simply "we are 138" repeated over and over. here are someinteresting opions on what that means 

ive heard several stories from a robot #138 in an old sci-fi flick to a battallion that fought to the last man standing in wwII. bottom line, does it matter? misfits are a way of life. and f*** the haters after glenn bytched out. ( and learn to spell it right) Jerry Only has kept the band goin strong. you dont like it, theres always culture club for you. STFU
- monster, who cares, WA

you guys are all f--king idiots! glenn danzig himself is quoted as saying not even his own band members know the meaning of 138 is. The TRUE ORIGIN OF "WE ARE 138" is quite simple, straight from Glenn Danzig's mouth; '138' was just something he and his friends thought up as kids. It was a code or something, meaning the ability to kill without thinking twice about it.
- Joe, San Diego, CA

Nobody except for the great Glenn Danzig knows what the song is about....sorry fellow fiends. There have been several roumrs. Mr Danzig if you read this crap please write a comment about it so can all know the true meaning, but if its part of your mysique and you dont feel we are ready to understand its whatever man.
- GodHater666, Sioux City, IA

I really wonder, why you Guys talk about the THX 1138, when the song is named as "we are 138". It is in my eyes a bit retarded to discuss about this song, when you have not the slightest clue about. Herny Rollins told once, that the "we are 138" is an other meaning for beeing retarted.
- Stefan, Landshut, Germany

Back in the 80s when I was a teen, you could get a big, cheap home gym called a "Weider 138" at any discount store. It was a free weight set with a bench and attachments. When I heard Henry Rollins and Glen Danzig doing this song together, I figured it was a combination of fantasizing about making yourself hard steel, wanting to break out of the robotic mindset of the 80s, and loving your first weight bench enough sing to it.

, Danzig disbanded the Misfits due to increasing animosity among the band members and his dissatisfaction with their musical abilities.[1]

Let me interject here. If you consider lyrics like " I hack the heads off little girls and put them on my wall", or " When nude creatures rape your face hybrids open up the door" or "20 eyes in my head they're all the same, when you're seening 20 things at a time you can't work things out", CAMP HORROR then I guess we live in troubled times my friend...anyways back to the fake history.

After the Misfits, he began work on a new band project: Samhain. The origins of Samhain began when Glenn Danzig started rehearsing with Eerie Von, formerly of Rosemary's Babies.[17] Danzig took the name of the band from the ancient Celtic New Year, which influenced the evolution of the modern Halloween. Initially Samhain was conceived as a punk rock "super group". The band briefly featured members of Minor Threat and Reagan Youth, who contributed to Samhain's 1984 debut, Initium. The band then settled with a lineup consisting of Eerie Von on bass, Damien on guitar, and Steve Zing on drums (later replaced by London May). In 1985 the Unholy Passion EP was released, followed by November-Coming-Fire in 1986. Samhain's musical and lyrical style was much darker in tone than Misfits material,[1] fusing an experimental combination of horror punk, gothic–deathrock, and heavy metal.

Samhain eventually began to attract the interest of major labels including Epic and Elektra.[18] Rick Rubin,(Laurel Canyon resident who owns a "haunted" house, I know you know which one, that all the big stars record in and report that paranormal activity is well.. normal) music producer and head of the Def American label, would see the band perform at the 1986 New Music Seminar, on the advice of then-Metallica bassist Cliff Burton.[18

Although Danzig is frequently portrayed as a Satanist by the mainstream media, he has denied this in several interviews,[12][54] elaborating “I embrace both my light and dark side.”[12] Danzig has explained further “I definitely believe in a yin and yang, good and evil. My religion is a patchwork of whatever is real to me. If I can draw the strength to get through the day from something, that's religion.”[6] However, Danzig has voiced his approval of certain Satanic ideologies including the quests for knowledge and individual freedom.[54][55] Danzig has revealed that religion does not play a role in how he perceives other bands.[56]
Danzig's creepy looking  house is right off of Hillhurst and Los Feliz not too far from Henry's house.

The band Fugazi was headed by Ian Mackaye and sigle handedly changed hardcore punk music forever and in my opinion really created the modern sound we refer to as alternative or alter-native. it is interesting to note that the singer Guy Piciotto attended Georgetown Day School and Georgetown University during this time period of grassroots rebellion. Joe Lally the bass player had a career day job at NASA that he gave up to be in the band full time.

One of the handful of Misfits drummers and who also was in Black Flag  was a guy named Robo A Colombian, born Roberto Valverde, had to quit the Misfits recently due to problems with his passport. There is an old rumor from way back that he was somehow involved with the FARC guerillas before coming to America.

I would also add that the singer of the SST punk band The Minutemen D. Boon was the son of a quote from one source "Navy Chief" whatever that is and from another source a Navy officer. Mike Watt the Bass player for the Minutemen later of Firehose and Mike Watt band is the son of a Navy officer that is where he and D. Boon met on the Navy base in San Pedro.

The Minutemen continued until December 23, 1985, when Boon was killed in a van accident in the Arizona desert near the Californian border on route I-10. Because he had been sick with fever, Boon was lying down in the rear of the van without a seatbelt when the van ran off the road. Boon was thrown out the back door of the van and died instantly from a broken neck. He was 27 years old. The band immediately dissolved, though Watt and Hurley would form the band fIREHOSE soon after. The live album Ballot Result was released in 1987, two years after Boon's death. Kira Roessler was D. Boon's girlfriend and in the van when he died , she also was the bass player for Black Flag and as a lot of hippies and punks seem to do, atteded a prestigious college this one being UCLA.
Kira Roessler (born June 12, 1962) is an American bass guitarist, singer and Emmy award-winning dialogue editor. She is best known for her membership in the punk rock group Black Flag.

[edit] BiographyWhile sitting in with L.A. punk group DC3, members of Black Flag heard her playing, which led to her being asked to join Black Flag to replace founding member Chuck Dukowski. Roessler was majoring in applied engineering at UCLA, and Black Flag's subsequent tours were worked around her school schedule, which was a condition for her to join the band. Her bass playing was featured on five of Black Flag's studio albums. She remained in the band until completing touring behind their album In My Head in the autumn of 1985, then graduated UCLA in 1986.

After Black Flag, she formed the two-bass duo Dos with Mike Watt (to whom she was married between 1987 and 1994), who are still performing today. She wrote or co-wrote songs for what would be the Minutemen's final album, 3-Way Tie (For Last), and to Watt's post-Minutemen band fIREHOSE. She later contributed some artwork to Watt's first solo album, Ball-Hog or Tugboat?.

Of course I draw no conclusions from this but all of this seems strange. I was a young child in 1987 when I first heard Black Flag Minor Threat and the Misfits, I had the image in my head that they were all like me, poor skateboarders with nothing else going for them but their music and rebellion. We know now from articles like the ones written by Dave Mcgowan that this is all image and nothing else, projected out into the mind of the listener. It provides a visual for mindset of a person who is looking for salvation through music or entertainment. We now for a long time, get our values from films, TV, literature and music. Whatever conclusions we can draw from this, we can atleast say that nothing in this life can be trusted and must be researched by the individual for their own overstanding. 


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voodo0
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« Reply #1 on: April 02, 2011, 02:10:10 PM »

bump
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Murray Von Hayek
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« Reply #2 on: April 02, 2011, 02:23:00 PM »

I forgot to add this little tidbit that was brought to my attention. It was implied that Henry seemed to have escaped this death unscathed in a rather strange situation where he shouldn't have been unscathed??? Anyways, Rick Rubin is always showing up in the weirdest places and he is a strange guy as well.

Joseph Dennis "Joe" Cole (April 10, 1961 – December 19, 1991) was a roadie for Black Flag and Rollins Band. He was also the best friend and roommate of the musician/author/actor Henry Rollins. His memoirs were published posthumously by 2.13.61 publishing, Planet Joe, in which he documented his experiences on the last Black Flag tour and first Rollins Band tour. He was shot and killed in a robbery at their home on December 19, 1991. As the pair returned from a video rental store, a man robbed Henry Rollins and Joe Cole in his house which was aired on Unsolved Mysteries (the robbery was precipitated by Rick Rubin's earlier visit to their home in an expensive car, likely leading the burglars to believe there was something of value to steal). The murder remains unsolved. Cole was 30 years old.

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« Reply #3 on: April 02, 2011, 09:48:11 PM »

At the same time you also have to remember that a lot of band, did a lot of things that that were anti establishment or even SHOCK to get noticed.

With that being said, I will give you another artists who "flipped".

ICE T.  Remember Cop Killer?  Now he played a detective on Law and Order SVU.
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« Reply #4 on: April 03, 2011, 03:23:13 AM »

This is nothing new, almost all of the bands of the 60's wound up having strange military connections:

* Jim Morrison (son of US Navy Admiral, who was directly involved in the Gulf of Tonkin false-flag incident)

* Frank Zappa (son of Dept of Defense contractor who specialized in Chemical Warfare development).

* Gail Zappa (Frank's wife - her father worked for Navy as nuclear specialist and she herself was a secretary for Office US Naval. In another odd twist, both Gail and Jim Morrison were in the same kindergarden class at a US Navy base)

* John Phillips (of the Mama and Papas, who also organized the "Monterey Pop Fest" which was the catalyst in promoting hippie festivals, he was son of a Marine Captain. John also went to a military prep school in Washington DC and was accepted into US Naval Academy in Annapolis)

* Stephen Stills (of Crosby, Stills, and Nash - raised in military family, schooled in on base military schools while father was stationed in Panama and Costa Rica. During highschool, Stephen came back to states and went to Admiral Farragut Academy in Florida).

* David Crosby (founding member of The Byrds and Crosby, Stills, and Nash - son of US Army Major. David is member of Van Cortlandt and Van Rensselaer families. These families represent a huge array of US Senators, state senators and assemblymen, governors, mayors, judges, Supreme Court justices, Revolutionary and Civil War generals, signers of the Declaration of Independence. Stephen Van Rensselaer III was even the Grand Master of the Masons for New York. Moreover David Crosby is a direct decedent of Alexander Hamilton - the great advocate of US Central Banking and Rothschild associate).

* Mike Nesmith (of the manufactured boy-band "The Monkees" arrived in LA straight from US Air Force)

Do you think any of this is related to the fact that right when an awakening was happening in the 60's, suddenly the 'pro-Drug, pro-Sex' scene arrived (via hippie music outlined herein)? Very convenient to have the sincere and thoughtful anti-war protest turn into drug fueled orgies.

Social critics of the 60's used to call the hippie movement a "communist plot", they were half right. It was really a military-industrial-central-banking-rockefeller plot....
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kidA
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« Reply #5 on: April 03, 2011, 06:41:53 AM »

Just  listen to CRASS
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« Reply #6 on: April 03, 2011, 07:00:59 AM »

This is nothing new, almost all of the bands of the 60's wound up having strange military connections:

* Jim Morrison (son of US Navy Admiral, who was directly involved in the Gulf of Tonkin false-flag incident)

* Frank Zappa (son of Dept of Defense contractor who specialized in Chemical Warfare development).

* Gail Zappa (Frank's wife - her father worked for Navy as nuclear specialist and she herself was a secretary for Office US Naval. In another odd twist, both Gail and Jim Morrison were in the same kindergarden class at a US Navy base)

* John Phillips (of the Mama and Papas, who also organized the "Monterey Pop Fest" which was the catalyst in promoting hippie festivals, he was son of a Marine Captain. John also went to a military prep school in Washington DC and was accepted into US Naval Academy in Annapolis)

* Stephen Stills (of Crosby, Stills, and Nash - raised in military family, schooled in on base military schools while father was stationed in Panama and Costa Rica. During highschool, Stephen came back to states and went to Admiral Farragut Academy in Florida).

* David Crosby (founding member of The Byrds and Crosby, Stills, and Nash - son of US Army Major. David is member of Van Cortlandt and Van Rensselaer families. These families represent a huge array of US Senators, state senators and assemblymen, governors, mayors, judges, Supreme Court justices, Revolutionary and Civil War generals, signers of the Declaration of Independence. Stephen Van Rensselaer III was even the Grand Master of the Masons for New York. Moreover David Crosby is a direct decedent of Alexander Hamilton - the great advocate of US Central Banking and Rothschild associate).

* Mike Nesmith (of the manufactured boy-band "The Monkees" arrived in LA straight from US Air Force)

Do you think any of this is related to the fact that right when an awakening was happening in the 60's, suddenly the 'pro-Drug, pro-Sex' scene arrived (via hippie music outlined herein)? Very convenient to have the sincere and thoughtful anti-war protest turn into drug fueled orgies.

Social critics of the 60's used to call the hippie movement a "communist plot", they were half right. It was really a military-industrial-central-banking-rockefeller plot....
I`ve never seen that info before.Very interesting.It goes along with the story of Gloria Steinem and the CIA.

http://www.rense.com/general21/hw.htm

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freetx
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« Reply #7 on: April 03, 2011, 07:33:55 AM »

I`ve never seen that info before.Very interesting.It goes along with the story of Gloria Steinem and the CIA.

http://www.rense.com/general21/hw.htm



Yes, very true.

"Women's Lib" served many simultaneous goals for the elites. Obviously chief among them was to help destroy the family structure (and relatedly get women into the workforce as tax payers to help fund the central bank induced debt).

In a semi-related note, its been observed among nearly all groups of primates that the females will often times use sexual displays as a way to dissipate and deflect anger among the males. If two males are battling for dominance, and this is causing a high degree of social tension in the troop, the females will often 'offer' themselves to the males - not for purposes of actually having sex, only as a simulated show - which captures the males attention and temporarily brings peace.

Interesting, during the height of war protest in the 60's, suddenly CIA-funded "women's lib" supporters began showing up and burning their bras in the middle of it all.
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Freebird100
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« Reply #8 on: April 03, 2011, 07:57:47 AM »

I`ve never seen that info before.Very interesting.It goes along with the story of Gloria Steinem and the CIA.

http://www.rense.com/general21/hw.htm


Here is another,more in depth article about Gloria Steinem.
Her connections to New World Order,CFR and CIA crowd are unreal.

http://www.newswithviews.com/Spingola/deanna10.htm



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Murray Von Hayek
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« Reply #9 on: April 03, 2011, 08:34:56 PM »

These are amazing for anyone who has never read them....

Inside Laurel Canyon Articles.

http://www.davesweb.cnchost.com/
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« Reply #10 on: April 04, 2011, 12:03:40 AM »

Man.  It feels like we can't trust anyone anymore...

not even YOU!



  Wink
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« Reply #11 on: April 04, 2011, 09:36:50 AM »

Bored suburban kids playing punk music doesn't seem that sinister to me.
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« Reply #12 on: April 04, 2011, 10:01:03 AM »

Bored suburban kids playing punk music doesn't seem that sinister to me.

Sinister...? Perhaps... Boredom is of course THE problem.

JTCoyoté

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There's a clear cause and effect here that is as neat
and predictable as a law of physics: As government
expands, liberty contracts.”

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« Reply #13 on: April 04, 2011, 10:12:36 AM »

wow. some of you never cease to amaze me on this board. Punk being a government op is extreme even for you folks. Lets start a new thread about things/events that AREN'T a conspiracy....oh wait, none of you would post in that thread because everything that has ever taken place on planet Earth has been a conspiracy.

Jesus...... Roll Eyes
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« Reply #14 on: April 04, 2011, 10:39:16 AM »

wow. some of you never cease to amaze me on this board. Punk being a government op is extreme even for you folks. Lets start a new thread about things/events that AREN'T a conspiracy....oh wait, none of you would post in that thread because everything that has ever taken place on planet Earth has been a conspiracy.

Jesus...... Roll Eyes

Read the bible it's a conspiracy.  And yes, this entire life is a conspiracy if you really think about the big picture.
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« Reply #15 on: April 04, 2011, 10:57:28 AM »

wow. some of you never cease to amaze me on this board. Punk being a government op is extreme even for you folks. Lets start a new thread about things/events that AREN'T a conspiracy....oh wait, none of you would post in that thread because everything that has ever taken place on planet Earth has been a conspiracy.

Jesus...... Roll Eyes

No one here has called Punk a "government conspiracy" a "corporatist MilIndCom" conspiracy perhaps...

Whether you are aware of it or not, virtually anything that affects power/control distribution on any level, by any means other than an open, factually proven, moral basic -- like the one laid out in our constitutional system -- more likely than not involves a conspiracy. After all, the word covers a huge territory...

"con·spir·a·cy
   /kənˈspɪrəsi/ Show Spelled[kuhn-spir-uh-see] Show IPA
–noun, plural -cies.
1.
the act of conspiring.
2.
an evil, unlawful, treacherous, or surreptitious plan formulated in secret by two or more persons; plot.
3.
a combination of persons for a secret, unlawful, or evil purpose: He joined the conspiracy to overthrow the government.
4.
Law . an agreement by two or more persons to commit a crime, fraud, or other wrongful act.
5.
any concurrence in action; combination in bringing about a given result.

Origin:
1325–75; Middle English conspiracie,  probably < Anglo-French; see conspire, -acy;  replacing Middle English conspiracioun; see conspiration

—Related forms
con·spir·a·tive, adjective
con·spir·a·to·ri·al  /kənˌspɪrəˈtɔriəl, -ˈtoʊr-/ Show Spelled[kuhn-spir-uh-tawr-ee-uhl, -tohr-] Show IPA, con·spir·a·to·ry, adjective
con·spir·a·to·ri·al·ly, adverb
non·con·spir·a·to·ri·al, adjective
pre·con·spir·a·cy, noun, plural -cies.

—Synonyms
1.  collusion, sedition. 2. Conspiracy, plot, intrigue, cabal  all refer to surreptitious or covert schemes to accomplish some end, most often an evil one. A conspiracy  usually involves a group entering into a secret agreement to achieve some illicit or harmful objective: a vicious conspiracy to control prices.  A plot  is a carefully planned secret scheme, usually by a small number of persons, to secure sinister ends: a plot to seize control of a company.  An intrigue  usually involves duplicity and deceit aimed at achieving either personal advantage or criminal or treasonous objectives: the petty intrigues of civil servants. Cabal  refers either to a plan by a small group of highly-placed persons to overthrow or control a government, or to the group of persons themselves: a cabal of powerful lawmakers."


JTCoyoté

"Every corner of this land knows firearms, and
more than 99.9 percent of them by their silence
indicate they are in safe and sane hands."

~George Washington

-- Address to the Second Session of the
First United States Congress, January 7, 1790,
Boston Independent Chronicle, January 14, 1790.
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« Reply #16 on: April 04, 2011, 09:44:03 PM »

The G-Rate Cons Piracy has many faces so does Isis. Anyways people running the show already know what you will like and adapt to ahead of time. Theo Adorno was one of these creatures who helped create the current Enter tain ment world.

The Culture Industry: Theo Adorno
http://www.marxists.org/reference/archive/adorno/1944/culture-industry.htm

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« Reply #17 on: April 05, 2011, 03:11:45 PM »

From Wikipedia...

The Radio Project was a social research project funded by the Rockefeller Foundation to look into the effects of mass media on society.

In 1937, the Rockefeller Foundation started funding research to find the effects of new forms of mass media on society, especially radio. Several universities joined up and a headquarters was formed at the School of Public and International Affairs at Princeton University. The following people were involved:

Paul Lazarsfeld - Director of the Radio Project
Theodor Adorno - Chief of the Music Division
Hadley Cantril - A psychologist at Princeton University's Department of Psychology
Gordon Allport - another of Lazarsfeld's assistants, went on to be the Tavistock Institute's leading representative in the United States.
Frank Stanton - Researcher from CBS sent to help the project, went on to become president of CBS.
Among the Project's first studies were soap operas, known as radio dramas at the time.

The Radio Project also researched the 1938 Halloween broadcast of The War of the Worlds. They found that of the estimated 6 million people who heard this broadcast, 25% thought it was real. Most of the people who panicked did not think that it was an invasion from Mars that was occurring, but rather an invasion by the Germans. It was later determined that because of the radio broadcasts from the Munich Crisis earlier in the year, the masses were prone to this.

A third research project was that of listening habits. Because of this, a new method was developed used to survey an audience - this was dubbed the Little Annie Project. The official name was the Stanton-Lazarsfeld Program Analyzer. This allowed one not only to find out if a listener liked the performance, but how they felt at any individual moment, through a dial which they would turn to express their preference (positive or negative). This has since become an essential tool in focus group research.

Theodor Adorno produced numerous reports on the effects of "atomized listening" which radio supported and of which he was highly critical. However, because of profound methodological disagreements with Lazarsfeld over the use of techniques like listener surveys and "Little Annie" (Adorno thought both grossly simplified and ignored the degree to which expressed tastes were the result of commercial marketing), Adorno left the project in 1941.

Retrieved from "http://en.wikipedia.org/wiki/Radio_Project"
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« Reply #18 on: April 05, 2011, 03:23:04 PM »

Just Found this has some interesting info in it.

An incomplete oral history of Henry Rollins' D.C. years
February 11, 2011

Henry Rollins turns 50 this Sunday — a fact that will make some of you feel very old — and he's celebrating with two spoken-word performances that day at National Geographic. Both shows are sold out, with the $35 tickets going for $95 on Craigslist, so there was little incentive for Rollins to honor TBD's interview request this week. And thus, he didn't. He's a busy man. As he wrote on his website yesterday, at a militarily precise "1325 hrs.": "I have been in NYC for a few days. I have been jammed with shows, press and other obligations...." Also busy? His lifelong friend Ian MacKaye, who was tied up in the studio this week and also unavailable for an interview.

And that's why this oral history of Rollins' D.C. years, when he hadn't yet changed his surname from Garfield, must be considered woefully incomplete. Nonetheless, I spoke with several of his bandmates from the short-lived hardcore group State of Alert (October 1980 – July 1981). (But not bassist Wendel Blow, unfortunately. A Facebook user by that name, whose identity I couldn't confirm but who likes Minor Threat and Fugazi, replied to my message with, "AAAAHHHH,Henry Who?") These and a couple other D.C. punk vets helped to provide this semi-illuminating portrait of a driven young man who scooped ice cream in Georgetown and made his friends' parents swoon — and then, in an impossible dream come true, was asked to be the lead singer of his all-time favorite band, Black Flag.

JEFF NELSON, drummer for the Slinkees, the Teen Idles, and Minor Threat: Ian and Henry had been friends for, I suppose, two years before I met Ian, and they had worked together at the skate shop in Bethesda, Md. So they had a history together before learning about punk, and they were both very into Ted Nugent and stuff like that, and then discovered punk.

SIMON JACOBSEN, drummer for the Extorts and State of Alert: Michael Hampton and I were best friends and neighbors. Before we met Henry, we formed a band with Wendel Blow, Michael, myself, and Lyle Preslar, who later became the guitar player for Minor Threat. We had a band called the Extorts. When 16- and 17-year-olds get together and play punk rock — it's exactly what it sounded like. We weren't really a machine yet, like we later became. We knew for whatever reason that Lyle wasn't happy singing for that band. He was talking with Ian and Brian [Baker] and Jeff Nelson about a new band called Minor Threat, and we knew this crazy guy who served ice cream at Häagen-Dazs on Wisconsin Avenue. He was a friend of Ian's. He didn't go to school or anything. He had a homemade tattoo. The boy wasn't right in the head. And we thought he would just be a wonderful singer for our band.

MICHAEL HAMPTON, guitarist for the Extorts, State of Alert, and the Faith: We weren't getting along very well with Lyle. He wanted to play guitar, he wanted to do something different, so we were trying to think who we could get to be a singer, and thought, "What about that Henry guy? He's cool." But we thought he was the singer for Black Market Baby, so we were reluctant to ask him. He was like the Teen Idles' roadie guy.

NELSON: Ian's friend Henry Garfield had gotten into punk around the same time we had, hearing stuff here and there on the college radio station. He would certainly attend every show we played and essentially was a roadie, and helped us schlep equipment around — just in our parents' cars and things like that. And then the Teen Idles decided to play two shows in California, in the summer of 1980. There were six of us that went out. There were the four band members and Henry came along and Mark [Sullivan], the singer for our previous band [the Slinkees] came along, and we took the bus all the way out to California and played two shows. We made $15 in Los Angeles and $11 in San Francisco and then flew home, and each of us had spent $600 out of our own pocket. It was just fun having Henry and Mark along. Henry had a low mohawk at that point, and Nathan [Strejcek], our singer, had green hair, and we were not allowed entrance into Disneyland because we were too shocking-looking. That was pretty frustrating.

JACOBSEN: The way I remember it was that Ian was friends with Henry, and we said, "Hi, we're too scared to approach him. Can we ask you to ask him for us, if he'll sing in our band?" And Henry had never sung in a band. He was the roadie for the Teen Idles and I think somebody else, and they were all friends. He had a lot of sort of music experience. Henry had thousands and thousands of dollars worth of import records from the Damned to the Cockney Rejects. Every dime he ever made, he spent on vinyl, and any free time he ever had was spent watching bands. He wasn't singing. He was carrying stuff around and getting in fights. He was a foreboding person even when he was 18. We were younger and smaller and chubby. We all grew up in Georgetown. The only things we had in common were, we had a sense of humor and we liked punk rock — and that was it. So Ian introduced us. I remember shuffling in there. [Rollins] is behind the counter. It was really just like the scene from Seinfeld and the Soup Nazi. That meeting lasted all of five minutes. We ran out of there. We had a phone number for the guy. It wasn't even an audition. It was practice starting right there. We couldn't possibly tell the guy he wasn't in the band after that.

HAMPTON: My recollection is that it was at the Teen Idles' practice space and Nathan Strejcek's — the lead singer of The Teen Idles' — mom's house, in their basement. We we went over there and I think we played some of our songs. I don't remember if [Rollins] sang or not. I remember him writing a lot of stuff down. He was into the idea, I think. He was writing on a lot of scraps of paper and stuff. And then I remember feeling like, "Ooo, I wonder if this is going to work," after we left.

JACOBSEN: We didn't play very many live shows, but we practiced every other day. Like everybody who just started out, we had this terrible equipment, we were borrowing it. Sometimes we'd practice at Dischord House, other times it was in Kalorama mansions — that was, you know, Wendel's parents, or high-society rollers. Just very odd.

HAMPTON: We used to rehearse in our parents' houses, in our parents' dining rooms. He always used to charm the moms. "Oh, you're going with Henry? Oh, that's fine then." He'd say, "Everything's fine, miss so-and-so. I got him, I got him." That kind of thing.

NELSON: We only had $600 with which to put out the first record, the Teen Idles record, and it took a while to sell all of those copies — 1,000 copies of that 7-inch. So while we were waiting for the money to come back, Henry said he had enough money earned as manager of the Häagen-Dazs ice cream store in Georgetown, so he funded Dischord's second record, which was the S.O.A. 7-inch EP.

IVOR HANSON, who replaced Jacobsen on drums around April 1981:  My dad was in the Navy at the time and we had quarters at the U.S. Naval Observatory, so I was living there, and when Michael and Henry and Wendell — you know, S.O.A. — showed up at the gate, to say, "Hi, we're here to rehearse," and so the Secret Service, who guards the observatory, called me up and says, "Hey Ivor, these guys are here saying, uh, you're in a band with them?" And I go, "Well, yeah. I just joined. You can send them in" — because you had to get permission to let them in. And they're like, "Uh, could you come down and escort them to the house?"

JACOBSEN: He was very paternal. One, we were five years younger than this guy. That's a big jump at the ages that we were at. We could play the instruments and that's what held us together, but we were nowhere near as sophisticated as Minor Threat or Bad Brains and we knew it. "Why can't we play like those guys?" And of course they all blamed me. He was very paternal in that he wanted to hold this thing together. Him singing for a band — and he knew it — was probably a big changer in his life. He always wanted to be that guy who had respect, and by God, this was a vehicle. The thing is, if you don't know him, you would never guess ... he was so polite to people's parents. But he wasn't like Eddie Haskell or anything like that. He could have an adult conversation with our parents about school pickup and stuff, it was ridiculous. And sometimes he'd pick us up at school — "Don't worry, I'll get him," you know? All of our mothers had crushes on this guy because he was just like this walking, throbbing centaur. It was just incredible to watch.

HANSON: He totally took us under his wing, you could say. I remember him talking to my dad. You know, my dad was an admiral. And he's like, "Don't worry, Admiral Hanson, I'm going to look after Ivor. We're going to play some shows and it could get ugly, but it's OK. Don't worry about him. It's OK. He's with me." And my dad was kind of impressed because when Henry showed up for that first rehearsal, he had a belt. Not like a leather belt — a chain. My dad's like, "That's quite a belt you got on there." "Oh, yes, Admiral."

JACOBSEN: He would do this pacing thing, he was all pumped up, and he would exercise like crazy before a show, doing chin-ups and pull ups. he was never interested in girls, nor was he interested in boys, for that matter. He was so focused on the Henry element. So he wasn't like a punk rock guy running around with a can of beer and being Sid Vicious — that was not the guy. It's the same guy we see today, except that he was 18. And just pissed off. But he's a funny, funny guy. That's a thing a lot of people don't know about him. He's really a clever, funny fellow.

HANSON: I played one show with S.O.A. and it was my first and last and only show because, by coincidence, that show was S.O.A. opening for Black Flag. It had been planned a long time earlier. And so, here it is, Henry's last show with S.O.A. was his first show with Black Flag, because he ... had performed a few songs with Blag Flag that night. That show was in Philadelphia and its claim to fame, you could say, was that not only was it S.O.A.'s last show and Henry's first couple of songs with Black Flag, but that there was a riot at the show because the neighborhood where the show was, the local people in the neighborhood in Philly were not really appreciative of these out-of-town punks coming in. So someone paid for a ticket and came in and slashed someone up, and then everyone ran out into a waiting crowd of bottles and bricks. It was just really ugly....

SETH HURWITZ, then a promoter for the 9:30 Club, which he now runs: He would always come to our shows. He was a local ... I don't want to say celebrity, but he was a local character. And then we all heard he got offered a slot in Black Flag, so it was like, "Wow, one of us is going to be famous."

HANSON: If your favorite band in the whole wide world asks you to be in their band, what are you going to say? You can't say no, and he didn't.

HAMPTON: We were surprised and and bummed out. Even at that time, being that young, I definitely understood that we were in high school and he wanted to be in a real band. And S.O.A. was anything but professional.... We played about five shows. You know, [we] had some nice enthusiasm and wrote a couple good punk songs, I think, but it wasn't like Minor Threat, who became a real sort of band.

HANSON:  I know he's said for forever, "I was born angry and I've been angry since that first day I was on this planet," but along with that I would say, sure he's angry and he's got lots of things on his mind, and he goes about exploring them and talking about them, thinking about them. But he's also one of the most driven people I've ever met. What was always impressive about him — and Ian, for that matter — was that they were like 18, 19 years old, and they not only knew what they wanted to do, which was be in bands ... but they knew how they were going to do it. Ian had Dischord and was going to go underground, and Henry was going be on any label he wanted to be on and go overground. They just knew. There was a certainty about it. I don't mean they knew they were going to be a big deal or rock stars or anything like that. They just knew they were going to do what they were going to do — to make a difference and be influential their own way. It was really impressive.

NELSON: None of us could have predicted that punk itself would still be around 30 years later, or that the record label we started would still be around in 30 years time, or exactly what any of us would have gone on to do, but even 30 years ago, when we were 18, 19, 20, it was still pretty clear that both Ian MacKaye and Henry had just gigantic, larger-than-life personalities, and were very, very driven. They were both different, had different styles. It's just been amazing over the years to watch Henry's fame increase and the different things he's gotten involved in, but it's not terribly
surprising because he's a very commanding presence.

JACOBSEN: We've all met people that are just different than other people. I
wasn't sure he was going to stay on the planet. All of these guys. I just happened to be in the right place at the right time. Ian was a different guy. Jeff Nelson was a different guy. And Henry. These three people, they weren't reactionaries like little punk rock kids; these guys were visionaries, and they really formed something and made something. Although Henry was little bit on his own path doing something else.

HANSON: Actually, a couple of years later ... Black Flag played in New York, and I was living in New York at that time, and I was actually working in a law firm for the summer, and went down to see them play, and went straight from work. So I had this suit and tie on, and all these punks are hanging out by the stage door. I'm knocking on the door, and I'm in this suit, and I'm like, "Hey I'm here to see Henry." They're kind of laughing me out of the door and then Henry's like, "Hey, wait, Ivor! Come in, come in. Cool, cool. How's your mom?"

JACOBSEN: I think I just completely annoyed him when I saw him in Chicago, where I was in architecture school, and I think I was wearing a tie, and he didn't talk to me ever again.

HANSON: I just have amazing respect for Henry. My wife works for the U.N., and for the past three years I was living in the South Pacific because we were based there. We were listening to the BBC a lot because that's what you could get, and you know, you hear Henry on the BBC, being taken seriously, people wanting to know what's on his mind and what he's doing, what's his latest project and all the rest — you know, worldwide audience. Or he plays in New Zealand and Australia, or does his spoken word stuff. It's just so amazing what he's accomplished, and I can't believe he's only 50 in that regard.

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TahoeBlue
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« Reply #19 on: April 05, 2011, 03:44:49 PM »

Georgetown is such MIC town.....hmmmm

http://www.imdb.com/title/tt0782110/
The Henry Rollins Show (TV Series 2006– )

http://www.imdb.com/title/tt0782110/episodes
 [ Interesting eh??? ....  ]
Season 1, Episode 1: Oliver Stone/Sleater Kinney
Season 2, Episode 1: Marilyn Manson/Peaches

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« Reply #20 on: April 05, 2011, 08:22:38 PM »

Congress for Cultural Freedom and the realm of music

Many US government organizations used classical symphonies, Broadway musicals, and jazz performances (including musicians such as Dizzy Gillespie) in attempts to persuade audiences worldwide America was a cradle for the growth of music (Wilford 108-109). The CIA and, in turn the CCF, displayed reluctance to patronize America’s musical avant-garde, experimental, including artists such as Milton Babbitt and John Cage. The CCF took a more conservative approach, as outlined under its General Secretary, Nicolas Nabokov, and concentrated its efforts on presenting older European works that had been banned or by the Communist Party (Wilford 109).

In 1952, the CCF sponsored the “Festival of Twentieth-Century Masterpieces of Modern Arts” in Paris. Over the next thirty days, the festival hosted nine separate orchestras which performed works by over 70 composers, many of whom had been dismissed by communist critics as “degenerate” and “sterile,”; included in this group were composers such as Dmitri Shostakovich and Claude Debussy (Wilford 109). The festival opened with a performance of Stravinsky’s The Rite of Spring, as performed by the Boston Symphony Orchestra (109). Thomas Braden, a senior member of the CIA said: “The Boston Symphony Orchestra won more acclaim for the US in Paris than John Foster Dulles or Dwight D. Eisenhower could have brought with a hundred speeches” (Wilford 110)

The CIA in particular utilized a wide range of musical genres, including Broadway musicals, and even the jazz of Dizzy Gillespie, to convince music enthusiasts across the globe that the U.S. was committed to the musical arts as much as they were to the literary and visual arts. Under the leadership of Nabokov, the CCF organized impressive musical events that were anti-communist in nature, transporting America’s prime musical talents to Berlin, Paris, and London to provide a steady series of performances and festivals. In order to promote cooperation between artists and the CCF, and thus extend their ideals, the CCF provided financial aid to artists in need of monetary assistance.

However, the CCF failed to offer much support for classical music associated with the likes of Bach, Mozart, and Beethoven because it was deemed an “authoritarian” tool of Soviet communism and wartime German and Italian fascism. The CCF also distanced itself from experimental musical avant-garde artists such as Milton Babbit and John Cage, preferring to focus on earlier European works that had been banned or condemned as “formalist” by Soviet authorities.
[edit] Nicolas Nabokov- Secretary General of the CCF

Nicolas Nabokov was a Russian-born composer and writer who developed the music program of the CCF as the Secretary General. Before gaining this position, he composed several notable musical works, the first of which was the ballet-oratorio Ode, produced by Serge Diaghilev's Ballet Russe de Monte Carlo, in 1928. This composition was shortly followed by Nabokov’s Lyrical Symphony in 1931. Nabokov moved to the U.S. in 1933 to serve as a lecturer in music for the [[Barnes Foundation]]. A year after moving to the U.S. Nabokov composed another ballet, which was entitled Union Pacific. Nabokov’s career then lead him to teach music at Wells College in New York from 1936 to 41, and later at St. John’s College in Maryland. During this time, Nabokov officially became a U.S citizen, in 1939.

In 1945, Nabokov moved to Germany to work for the U.S. Strategic Bombing Survey as a civilian cultural adviser. He returned to the U.S. just two years later to teach at the Peabody Conservatory before becoming the Secretary General of the newly-created CCF in 1951. Nabokov remained in this position for over fifteen years, spearheading popular music and cultural festivals during his tenure. During this time he also wrote music for the opera Rasputin's End in 1958 and was commissioned by the New York City ballet to compose music for Don Quixote in 1966. When the CCF disbanded in 1967, Nabokov returned to a career in teaching at several universities throughout the U.S., and composed music for the opera Love's Labour's Lost in 1973.
[edit] Festival of Twentieth-Century Masterpieces of Modern Arts

This 30-day arts festival, held in Paris, was sponsored by the CCF in 1952 in order to alter the image of the U.S. as having a bleak and empty cultural scene. The CCF under Nabokov believed that American modernist culture could serve as an ideological resistance to the Soviet Union. As a result, the CCF commissioned nine different orchestras to perform concertos, operas, and ballets by over 70 composers who had been labeled by communist commissars as “degenerate” and “sterile.” This included compositions by Benjamin Britten, Erik Satie, Arnold Schoenberg, Alban Berg, Pierre Boulez, Gustav Mahler, Paul Hindemeith, and Claude Debussy.

The festival opened with a performance of Igor Stravinsky’s Rite of Spring, conducted by Stravinsky and Pierre Monteux, the original conductor in 1913 when the ballet instigated a riot by the Parisian public. The entire Boston Symphony Orchestra was brought to Paris to perform the overture for the large sum of $160,000. The performance was so powerful in uniting the public under a common anti-Soviet stance that American journalist Tom Braden remarked that “the Boston Symphony Orchestra won more acclaim for the U.S. in Paris than John Foster Dulles or Dwight D. Eisenhower could have brought with a hundred speeches.” An additional revolutionary performance at the festival was Virgil Thomson’s Four Saints, an opera that contained an all black cast. This performance was selected to counter European criticisms of the treatment of African Americans living in the U.S.
[edit] Louis Armstrong and the Cultural Cold War

During the Cold War, Louis Armstrong was promoted around the world as a symbol of US culture, racial progress, and foreign policy. It was during the Jim Crow Era that Armstrong was appointed a Goodwill Jazz Ambassador, and his job entailed representing the American government’s commitment to advance the liberties of African Americans at home, while also working to endorse the social freedom of those abroad.

Armstrong’s visit to Africa’s Gold Coast was hugely successful and attracted magnificent crowds and widespread press coverage. His band’s performance in Accra resulted in public enthusiasm due to what was deemed an “unbiased support for the African course….”.

Although Armstrong was indeed advocating the US foreign policy strategies in Africa, he did not whole-heartedly agree with some of the American government’s decisions in the South. During the 1957 school desegregation crisis in Little Rock, Arkansas, Armstrong made it a point to openly criticize President Eisenhower and Arkansas Governor Orval Faubus. Instigated by Faubus’s decision to use the National Guard to prevent Black students from integrating into Little Rock High School, Armstrong abandoned his ambassadorship periodically, jeopardizing the US’s attempt to use Armstrong to represent America’s racial position abroad, specifically in the Soviet Union.

It was not until Eisenhower sent federal troops to uphold integration that Armstrong reconsidered and went back to his position with the State Department. Although he had deserted his trip to the Soviet Union, he later went on to tour several times for the US government, including a six month tour African tour in 1960-1961. It was during this time that Armstrong continued to criticize the American government for dragging its feet on the Civil Right issue, highlighting the contradictory nature of the Goodwill Jazz Ambassadors mission. Armstrong and Dave and Iona Brubeck (other Ambassadors at the time) asserted that although they represented the American government, they did not represent all of the same policies.

Ultimately, although American no doubt benefited from the tours by Black artists (including Duke Ellington and Dizzy Gillespie), these ambassadors did not advocate a singularly American identity. They instead encouraged solidarity among Black peoples, and were constantly contesting those policies that did not fully sympathize with the aims of the Civil Rights movement.
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« Reply #21 on: April 05, 2011, 08:47:58 PM »

American punkers from that era formed a tight net community. They are all connected in way though all the bands, GF/BF stuff, clubs, fans, drug dealers etc. Henry seems to have started life with some advantages but things went sour.
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« Reply #22 on: July 27, 2011, 10:47:56 AM »

I was recently reading how Ian Mackaye had reservations about this group at first because they were thought to be a Communist front, which is not surprising

http://en.wikipedia.org/wiki/Positive_Force
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« Reply #23 on: October 01, 2011, 01:55:58 PM »


Henry Rollins: The Column! Henry Speaks On His Consciousness-Expanding Trip to the Library of Congress With Ian MacKaye

By Henry RollinsThu., Sep. 29 2011 at 5:00 AM

 I have just wrapped one of the better days this year. It only finished several minutes ago, as midnight draws near.

I met up with Ian MacKaye at the intersection of Pennsylvania and Seventh Street in downtown D.C. at 11 a.m. Our first stop was at the National Archives. We have a friend there who allows us to come in and view some of the rarer documents the massive building holds.

Our contact got us visitor IDs, and we went through security checks and rounds of phone calls and code-required doors before finally arriving at a very thick and heavy door that opened like a bank vault.
 
We step inside and sit down in the chairs provided; walking around, pulling open the drawers, or looking into any of the countless boxes is a no-go. Why? The room we are sitting in holds documents from the first 26 years of America's governmental workings. It is my second visit, and I am even more excited than I was the first time.

Our contact has prepared documents for us to look at. They come out of drawers and boxes big and small. Highlights include letters from Thomas Jefferson, the first and last pages of George Washington's inaugural speech -- written in his own hand -- and Abraham Lincoln's letter to Congress authorizing Ulysses Grant to be put in charge of the Union armies. For fun, our contact has brought in Frank Zappa's notes read at the Parents Music Resource Center hearings. Hilarious.

One of the high points for me was a draft of the Bill of Rights, as it went back and forth between the two houses of Congress. What became the Second Amendment had several more words to it, while the last words of what became the 10th Amendment -- " ... or to the people." -- were a handwritten addition. Wow! I can't tell you how awesome it was to see that. The other high point was reading the words of Washington, Jefferson and Lincoln out loud with Ian. Perfection.

After two hours of amazing viewing, our contact had work to attend to, so we thanked him profusely and left, vowing to come back again. Our contact must be a glutton for punishment, as he said that would be just fine.

Our next stop was the Library of Congress, where Ian has the hookup. Apparently, the LOC heard about Ian's collection of Dischord Records and punk-rock ephemera and asked to take a look. They are now helping Ian catalog the pieces.

For two hours we are allowed to walk all over the place and visit with different departments. We first meet with people who are meticulously repairing books from as far back as the 15th century, from Thomas Jefferson's prayer book to a book from Susan B. Anthony's collection with her handwritten notes on the cover. The work is very careful and very slow. Different countries in different times used different bindings, adhesives and paper. Repair must be historically considered, lest we lose a one-of-a-kind book.

These people are all about collecting, databasing and preserving. I am in my element. We are having conversations about acid-free paper and Mylar L-sleeves! Be still, my fanatic heart.

From there, it was off to the audio department. They were waiting for us. They had laid out a few of the millions of pieces of vinyl in their care. Stooges, first album, white label promo, date-stamped August 1969. I pulled out the LP. Unplayed. The superwide band holding the song "We Will Fall" reflected back at me, screaming, "I am pristine! Worship me!" Stooges and MC5 singles, unplayed, looking as new as the day they were pressed. Original Harry Partch, Sun Ra and Fugs LPs, decades old, mint new. I looked up from this table of vinyl and, to my left, saw an old record player standing against the wall. Who do you think it belonged to? Good guess, you're right: Thomas Edison. Fanatic overload!

I have been gathering audio and other music-related materials for more than 30 years now and have seen some serious collections in my time, but the LOC is the biggest dog in the yard. I told one of the people there about some seven-inch punk rock acetates I had just acquired, and his eyes lit up. That's at least two people who care!

I know that collector types can be a pain in the neck and seem perpetually frozen in time -- or at least in their parents' basement -- but someone has to look out for the past, lest it slip away forever. It was amazing to be around people who are dedicated to making sure there is a trail, who work with painstaking care to maintain the integrity of what came before. I was told I was doing the right thing by diligently saving fliers in acid-free protectors and transferring my analog sources to digital, and to keep up the good work.

A day of nonstop awe and inspiration. Whenever any great song or album gets lost in the ether, someone is deprived of the joy of hearing it, and the great effort of those who created and recorded the work is damaged. Thankfully, the fanatics are there to make sure the jam session never stops.

 



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Murray Von Hayek
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« Reply #24 on: October 01, 2011, 02:00:49 PM »

It is amazing to me how punk rockers who were supposedly threating the the establishment and were smashing all the old values of "the system" and American ways of life could get security clearance and 2 would go there to look at the "founding father documents".

Just strange....
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« Reply #25 on: November 04, 2011, 06:43:54 AM »

Bored suburban kids playing punk music doesn't seem that sinister to me.
I think you are missing the point.Bands and musician's s especially popular famous ones are VERY important in mass mind control.The idea that most big bands have been  controlled,formed and directed from inception is a scary thought,but if you look at the style vs time period & agenda a scary picture emerges.
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« Reply #26 on: November 04, 2011, 06:46:12 AM »

It is amazing to me how punk rockers who were supposedly threating the the establishment and were smashing all the old values of "the system" and American ways of life could get security clearance and 2 would go there to look at the "founding father documents".

Just strange....
They were ALL played by the Elite. punks,goths,emo's,grunge,heavy metal etc etc....POP!
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« Reply #27 on: November 04, 2011, 07:39:48 AM »



An interesting side not ...

I sell vinyl records on eBay ... has been a home business for me
since 1998 ... all types music / all eras. I have sold stuff to a lot
of well-known people over time. Couple months ago I sold an LP
to HENRY ROLLINS ... his description of visiting the LOC sounds
about right ... I know lots of vinyl nuts, they (we) are all the same ...
loving the music/words AND the archival part as well.

Here's my pic of the LP and my description which ran on eBay:




BEGONIA SOCIETY 0000 (STEREO - 10” LP) - IRENE MOON and FRIENDS - *For The Neonate* - Super-rare VINYL Rock from 2004. "Silk-screened, glitter-gold cover with music from Irene Moon, Ergo Phizmiz, Auk Theatre, and Sick Hour all participating in the vinyl event. Artwork and larval centerfold from the drawings of Brenden Lawson. Horror for the breakfast table. One odd collage.”

~~~ Neo Communist  Huh 
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Murray Von Hayek
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« Reply #28 on: October 21, 2012, 07:12:24 PM »

" Jeremy Blake and Theresa Duncan were both part of the "Positive Force' punk scene in Washington D.C."

http://drugaddict.livejournal.com/3056810.html
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« Reply #29 on: November 07, 2012, 11:57:10 AM »

New Documentary on 80's D.C. Punk Scene (It's so anti establishment that it is in SPIN magazine)
http://www.spin.com/#articles/dc-punk-scene-salad-days-documentary
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« Reply #30 on: November 07, 2012, 12:00:04 PM »

Greg Palmer says Punk was a marketing scheme
http://www.examiner.com/article/greg-lake-of-emerson-lake-and-palmer-disses-punk-misses-the-point
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