Breckinridge Elkins
01-20-2010, 08:22 PM
The Teenage Rebellion
Joe Owens
Before the 1950s no one had heard of, let alone experienced, the Teenage Rebellion. The word “teenager” came to prominence around 1955 with the emergence of an Integrated Doo Wop (rhythm and blues) group called The Teenagers (later changed to Frankie Lymon & the Teenagers). The group consisted of two blacks, two Hispanics, and one white, with Negro Frankie Lymon as lead singer. The group sprung to prominence in January 1956 with the hit single “Why Do Fools Fall in Love.”
The Teenagers got signed up by the Jew George Goldner’s Gee Records (Goldner’s gambling habit would lead to him selling part or all of his record company to Morris Levy). Another Jew (in fact, half Lithuanian Jew), Alan Freed, was the DJ who presented The Teenagers to international audiences.
Albert James “Alan” Freed (December 15, 1921 – January 20, 1965), also known as Moondog, was an American disc-jockey who became internationally known for promoting African-American rhythm and blues music on WJW (850 kc AM) radio (“general market”) station under the name of Rock ‘n’ Roll. Freed was credited with coining the phrase Rock ‘n’ Roll at Leo Mintz’s Record Rendezvous store in Cleveland, 1951. Though reported in the Cleveland Jewish News April 4, 1986, it was Leo Mintz who actually came up with the idea.
One night while Freed was excitedly doing his act and urging a singer on to greater efforts in a rendition of “Roll With Me, Henry” he turned to Mintz and said, “Leo, this music is so exciting, we’ve got to call it something. “ Leo said, “Allen, you are rolling tonight…you’re rocking and rolling…call it ‘Rock and Roll.’”
It was Leo Mintz who then persuaded Freed to play more rhythm and blues (race music as it was known then) on his radio station (a white one) to make it more acceptable to white listeners, and also help in the sale of records from Mintz’s Record Rendezvous store (Mintz supplied Freed with data on what records to play, and which ones to drop. Also, Record Rendezvous was a major sponsor of Freed’s radio station).
Rhythm and Blues was now given the new name of Rock ‘n’ Roll to fool white music listeners they were not listening to black music (race music). What is ironic is that the term Freed was using to make rhythm and blues more acceptable to a white audience was slang for sex in the black community!
At the time Black radio stations got called black – format stations and white ones were “general market” stations, and a strict apartheid system prevailed; until Freed and Mintz came along, that is. And these two Jews, Mintz and Freed, were the architects of breaking the barriers down with Rock ‘n’ Roll.
So there you have the origins of Rock ‘n’ Roll and its racially destructive aims. Once these two Jews had broken down the racial barriers of black and white music, it was time for their racial brethren in the film industry to create chaos among school kids and young people in general with the new Rock ‘n’ Roll of Freed and Mintz.
In April 1954, Milton Gabler, a Jew, from Harlem, New York, signed Bill Haley and the Comets (an American rock and roll band founded in 1952 and which continued until Haley’s death in 1981) to Decca Records. On April 12, 1954, Bill Haley and the Comets recorded at the Pythian Temple studios in New York, “Rock Around the Clock.” It was then released to the public on May 20, 1954. This was by no means the first so-called Rock ‘n’ Roll song, but it was the song that put Rock ‘n’ Roll on the world stage. This song was written by another Jew, Max C. Freedman. Now, what was so strange about Rock ‘n’ Roll now appearing at dance halls and on radio stations was its immediate attraction to the young and not the old. But when one examines the lyrics of Rock Around the Clock it becomes quite clear why this was so:
Rock Around The Clock
One, two, three o’clock, four o’clock, rock,
Five, six, seven o’clock, eight o’clock, rock,
Nine, ten, eleven o’clock, twelve o’clock, rock,
We’re gonna rock around the clock tonight.
Put your glad rags on and join me, hon,
We’ll have some fun when the clock strikes one,
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the clock strikes two, three and four,
If the band slows down we’ll yell for more,
we’re gonna rock around the clock tonight,
we’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the chimes ring five, six and seven,
We’ll be right in seventh heaven.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When it’s eight, nine, ten, eleven too,
I’ll be goin’ strong and so will you.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the clock strikes twelve, we’ll cool off then,
Start a rockin’ round the clock again.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight
Yes, they are lyrics a ten-year old child could have written for a kindergarten party. But more dangerous than that for young teenagers (as they were now being called) is the trivial pursuit of dancing being paramount throughout the song. Why would anyone need to dance for such a long duration? Even though no one would dance for so long, the song stresses that dancing is so important and surpasses anything else one would need to do when running their daily lives. And it doesn’t take a genius to see who this music was aimed at. Not content with childish, immature lyrics to Rock ‘n’ Roll, crazy wild dancing also accompanied it. Whereas dancing prior to the Second World War was ordered and disciplined, this new dancing to Rock ‘n’ Roll was chaotic and wild.
Bill Haley’s “Rock Around the Clock” got its first major breakthrough when it featured as the soundtrack theme to the film Blackboard Jungle (released March 19, 1955). Blackboard Jungle was directed and produced by two Jews: Richard Brooks (real name Rubin Sax) and Pandro S. Berman.
http://www.youtube.com/watch?v=GW1_A9-kBNw&feature=player_embedded
http://www.youtube.com/watch?v=GW1_A9-kBNw&feature=player_embedded
Blackboard Jungle is about war veteran Richard Dadier (Glenn Ford) who wants to begin his career as a teacher and was given an assignment at a boy’s high school in inner-city New York. However, he soon discovers the school is overrun by delinquents, led by Artie West (Vic Morrow), an insolent hood who likes to call Richard “Mr. Daddy-O.” Artie and his gang steal, destroy property, refuse to respect authority and threaten the female teachers with rape. While most of the faculty have given up and meekly let the delinquents do what they want, Dadier is determined to bring order back to his classroom, even after Artie’s thugs threaten Richard’s pregnant wife. Blackboard Jungle was the first major studio film to use Rock & Roll on the soundtrack; the film’s success kick-started sales of “Rock Around the Clock.”
“Rock Around the Clock” would reach number one on the Billboard charts where it would stay for eight weeks and sell millions of copies. This was arguably the Big Bang for the emergence of Rock and Roll. After this climactic moment, Rock and Roll became the dominant musical genre in the US. The music led to a huge teenage audience for the film: their exuberance sometimes overflowed into violence and vandalism at screenings.
So by merging a fictional story of juvenile violence at an inner city school with a Rock and Roll song that sang about dancing till your heart’s content, the culture distorters had kids across America rebelling against discipline and order and causing chaos in American schools. Literally overnight, kids went from law-abiding to law-breaking, and schools went from places of learning to dens of anarchy. The kids now identified Rock and Roll with rebellion and violence.
Thus was born the Teenage Rebellion — conceived, gestated, and delivered by the same people who gave us the so-called Russian Revolution and virtually every other revolution, rebellion, and form of subversion of the nineteenth and twentieth centuries.
http://www.toqonline.com/2010/01/the-teenage-rebellion/
Joe Owens
Before the 1950s no one had heard of, let alone experienced, the Teenage Rebellion. The word “teenager” came to prominence around 1955 with the emergence of an Integrated Doo Wop (rhythm and blues) group called The Teenagers (later changed to Frankie Lymon & the Teenagers). The group consisted of two blacks, two Hispanics, and one white, with Negro Frankie Lymon as lead singer. The group sprung to prominence in January 1956 with the hit single “Why Do Fools Fall in Love.”
The Teenagers got signed up by the Jew George Goldner’s Gee Records (Goldner’s gambling habit would lead to him selling part or all of his record company to Morris Levy). Another Jew (in fact, half Lithuanian Jew), Alan Freed, was the DJ who presented The Teenagers to international audiences.
Albert James “Alan” Freed (December 15, 1921 – January 20, 1965), also known as Moondog, was an American disc-jockey who became internationally known for promoting African-American rhythm and blues music on WJW (850 kc AM) radio (“general market”) station under the name of Rock ‘n’ Roll. Freed was credited with coining the phrase Rock ‘n’ Roll at Leo Mintz’s Record Rendezvous store in Cleveland, 1951. Though reported in the Cleveland Jewish News April 4, 1986, it was Leo Mintz who actually came up with the idea.
One night while Freed was excitedly doing his act and urging a singer on to greater efforts in a rendition of “Roll With Me, Henry” he turned to Mintz and said, “Leo, this music is so exciting, we’ve got to call it something. “ Leo said, “Allen, you are rolling tonight…you’re rocking and rolling…call it ‘Rock and Roll.’”
It was Leo Mintz who then persuaded Freed to play more rhythm and blues (race music as it was known then) on his radio station (a white one) to make it more acceptable to white listeners, and also help in the sale of records from Mintz’s Record Rendezvous store (Mintz supplied Freed with data on what records to play, and which ones to drop. Also, Record Rendezvous was a major sponsor of Freed’s radio station).
Rhythm and Blues was now given the new name of Rock ‘n’ Roll to fool white music listeners they were not listening to black music (race music). What is ironic is that the term Freed was using to make rhythm and blues more acceptable to a white audience was slang for sex in the black community!
At the time Black radio stations got called black – format stations and white ones were “general market” stations, and a strict apartheid system prevailed; until Freed and Mintz came along, that is. And these two Jews, Mintz and Freed, were the architects of breaking the barriers down with Rock ‘n’ Roll.
So there you have the origins of Rock ‘n’ Roll and its racially destructive aims. Once these two Jews had broken down the racial barriers of black and white music, it was time for their racial brethren in the film industry to create chaos among school kids and young people in general with the new Rock ‘n’ Roll of Freed and Mintz.
In April 1954, Milton Gabler, a Jew, from Harlem, New York, signed Bill Haley and the Comets (an American rock and roll band founded in 1952 and which continued until Haley’s death in 1981) to Decca Records. On April 12, 1954, Bill Haley and the Comets recorded at the Pythian Temple studios in New York, “Rock Around the Clock.” It was then released to the public on May 20, 1954. This was by no means the first so-called Rock ‘n’ Roll song, but it was the song that put Rock ‘n’ Roll on the world stage. This song was written by another Jew, Max C. Freedman. Now, what was so strange about Rock ‘n’ Roll now appearing at dance halls and on radio stations was its immediate attraction to the young and not the old. But when one examines the lyrics of Rock Around the Clock it becomes quite clear why this was so:
Rock Around The Clock
One, two, three o’clock, four o’clock, rock,
Five, six, seven o’clock, eight o’clock, rock,
Nine, ten, eleven o’clock, twelve o’clock, rock,
We’re gonna rock around the clock tonight.
Put your glad rags on and join me, hon,
We’ll have some fun when the clock strikes one,
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the clock strikes two, three and four,
If the band slows down we’ll yell for more,
we’re gonna rock around the clock tonight,
we’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the chimes ring five, six and seven,
We’ll be right in seventh heaven.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When it’s eight, nine, ten, eleven too,
I’ll be goin’ strong and so will you.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight.
When the clock strikes twelve, we’ll cool off then,
Start a rockin’ round the clock again.
We’re gonna rock around the clock tonight,
We’re gonna rock, rock, rock, ’til broad daylight.
We’re gonna rock, gonna rock, around the clock tonight
Yes, they are lyrics a ten-year old child could have written for a kindergarten party. But more dangerous than that for young teenagers (as they were now being called) is the trivial pursuit of dancing being paramount throughout the song. Why would anyone need to dance for such a long duration? Even though no one would dance for so long, the song stresses that dancing is so important and surpasses anything else one would need to do when running their daily lives. And it doesn’t take a genius to see who this music was aimed at. Not content with childish, immature lyrics to Rock ‘n’ Roll, crazy wild dancing also accompanied it. Whereas dancing prior to the Second World War was ordered and disciplined, this new dancing to Rock ‘n’ Roll was chaotic and wild.
Bill Haley’s “Rock Around the Clock” got its first major breakthrough when it featured as the soundtrack theme to the film Blackboard Jungle (released March 19, 1955). Blackboard Jungle was directed and produced by two Jews: Richard Brooks (real name Rubin Sax) and Pandro S. Berman.
http://www.youtube.com/watch?v=GW1_A9-kBNw&feature=player_embedded
http://www.youtube.com/watch?v=GW1_A9-kBNw&feature=player_embedded
Blackboard Jungle is about war veteran Richard Dadier (Glenn Ford) who wants to begin his career as a teacher and was given an assignment at a boy’s high school in inner-city New York. However, he soon discovers the school is overrun by delinquents, led by Artie West (Vic Morrow), an insolent hood who likes to call Richard “Mr. Daddy-O.” Artie and his gang steal, destroy property, refuse to respect authority and threaten the female teachers with rape. While most of the faculty have given up and meekly let the delinquents do what they want, Dadier is determined to bring order back to his classroom, even after Artie’s thugs threaten Richard’s pregnant wife. Blackboard Jungle was the first major studio film to use Rock & Roll on the soundtrack; the film’s success kick-started sales of “Rock Around the Clock.”
“Rock Around the Clock” would reach number one on the Billboard charts where it would stay for eight weeks and sell millions of copies. This was arguably the Big Bang for the emergence of Rock and Roll. After this climactic moment, Rock and Roll became the dominant musical genre in the US. The music led to a huge teenage audience for the film: their exuberance sometimes overflowed into violence and vandalism at screenings.
So by merging a fictional story of juvenile violence at an inner city school with a Rock and Roll song that sang about dancing till your heart’s content, the culture distorters had kids across America rebelling against discipline and order and causing chaos in American schools. Literally overnight, kids went from law-abiding to law-breaking, and schools went from places of learning to dens of anarchy. The kids now identified Rock and Roll with rebellion and violence.
Thus was born the Teenage Rebellion — conceived, gestated, and delivered by the same people who gave us the so-called Russian Revolution and virtually every other revolution, rebellion, and form of subversion of the nineteenth and twentieth centuries.
http://www.toqonline.com/2010/01/the-teenage-rebellion/