Pop Music Decline Reflected Rise Of Media Class

On this website we assert that a new Class has taken power in the US and across the Western World. That Class, now imposing its revolutionary agenda on many Nations, is the MEDIA CLASS. Regular visitors to this site will have seen that we continually expose the Media Class agenda and identify the many aspects of our (Christian) culture that have already been exorcized or are under deadly attack. The accession to power of a new Class (a rare event) requires a revolution, for old power and old cultural and moral beliefs must be rooted out to make way for the new. The radical changes that are now being imposed on society are not the gradual and natural changes of evolution but represent a hiatus with the past. We are experiencing a cultural and moral revolution no less so because it appears to be bloodless, though some might argue that the abortion toll, the casual violence and death that prevail in our inner cities, the drug wars and the suicides of a Godless generation are the true cost of the revolution. Others might argue that the revolution will become bloody if and when the counter-revolution begins. A number of commentators are aware that something fundamental is happening to society and they call it a ‘Culture War’ but here we more specifically claim it is a revolution wrought by the rise to power of a new Class. From marriage to reproduction and from common law to racial and cultural unity we are experiencing the destruction of time-honored practices and standards in order to make way for a radical cultural and moral experiment. This experiment is being pursued to remake society in the image of a Class that is unavoidably dysfunctional, narcissist, perverted and addicted to sensualism.

It is ironic that the revolutionary Class now consolidating its power has roots in culture yet has been busy degrading our culture over the last forty years in order to destroy it. The Media Class has been driven to do so of course for as stated above it seeks to create a wholly new culture in its own image and can only successfully do so when the old culture has been eliminated. As one would expect, when an intrinsically decadent revolutionary power is at work, the evidence will be found everywhere. If one looks at popular entertainment (cinema, theater, painting, literature or music) one can monitor the process of ‘old-culture destruction’ and the introduction of its decadent and shocking replacement. In the 1960’s in the UK, traditional humor was swiftly eliminated from radio and TV. Programs and Shows that had huge popular following were swept away along with household names. The process was so quick and efficient that there was no time for popular protest. The Benny Hills and the Les Dawsons and the working class northern comedians were declared politically incorrect and replaced by ‘cutting-edge social commentators’ who were neither funny nor popular. At the time it seemed that the humorless Feminazis who had suddenly infested and seemingly captured the Media organs were solely responsible but with hindsight we can see that something much more radical was happening. A new Class was emerging. The popular soaps of the day were either axed, or suddenly acquired a political and social agenda that were clearly intended to ‘educate’ the masses. The new social content was not a reflection of new realities (though that was sometimes falsely claimed by the programmers) but a preparation for change. Propaganda and indoctrination claimed a central place in the soaps, in the plays and in the leisure programs aimed at the masses.

Popular music, soon to become ‘Pop Music’, was subjected to the same radical transformation as humor, drama and news. It began with the ‘infantilization’ of music. I can think of no more appropriate word than this. In the UK, and no doubt the US too, something called ‘Youth Culture’ was announced and celebrated across the Media and music was its primary vehicle. In an amazingly short period of time adult voices and adult music were marginalized. In place of the manly voices of Frankie Laine, Guy Mitchell, Ernie Ford, Eddie Fisher, Vic Damone, Al Martino, Dick Haymes, Dean Martin, Tony Martin, Jack Jones, Steve Lawrence (and I could list as many names of English male singers) and adult female singers like Sarah Vaughan, Peggy Lee, Lena Horne, Edie Gorme and Kay Starr, the airwaves were filled with the voices of pimply adolescents strumming three chords on a guitar.

All manner of arguments were made for this revolution in entertainment. Some claimed that it was a kind of economy, for four kids with guitars were cheaper to promote than a skilled singer and an orchestra. Others claimed that in the new post-1950’s economy it was kids who had the spare cash for entertainment and they preferred to be entertained by their peers. Some academics, eager to find something original to say and in order to get into print, claimed without embarrassment that the Beatles were the new Beethovens or better. Some optimists opined that every generation challenged the old and that music would soon revert to something more adult. Most of these explanations contained a grain of truth of course, but were all quite inadequate. The most outstanding of the popular singers (the Frank Sinatras, the Ella Fitzgeralds and the Nat King Coles) did not give way entirely but we can now see that they were a dying breed.

It was not long before the immature youths with guitars were augmented by prancing hermaphrodites in tight silk smocks, flowing locks, eye-shadow, lipstick and nail varnish. Wiggling their bottoms and holding guitars as if engaged in masturbation, these leering and shameless rejecters of masculinity flaunted or simulated homosexuality to audiences of pre-teens both on TV screens and in concerts. Here was exercised the power of the new Media Class to brainwash the future generations. Those parents who cared realized that their children were being corrupted but it was not possible to resist the new culture for it was everywhere and quickly hailed by academics. Leftists quickly perceived that children alienated from their parents’ culture were accessible for indoctrination. Before long, most parents had also become corrupted by the all-pervasive Media as a TV set appeared in every living room and even in every bar and was rarely switched off.

In the intervening years pop music has evolved but not for the better. Rock, Hard Rock, Punk, Rap and every other ‘musical’ fad – none have signaled a return to adult standards. What kind of music can now survive that does not require bizarre dress, flashing lights, pre-publicized bad behavior, ear-shattering amplification, studio-falsification and video distraction? When is there a tune that people might collectively sing together after the performance, that might linger in the collective memory and that might lend itself to new interpretations in subsequent decades? Rarely do the lyrics rhyme or make sense and when do they rise above the puerile? The dominant emotions, indeed the only emotions expressed in the lyrics of modern pop music are misery, anger and protest. Almost all singers sound pre-adult and affect a whingeing and self-pitying tone. It is hard to recall that before the 1970’s popular music was designed for adults and for mostly happy and contented people. It is even harder to recall that the Top Twenty of the 1940’s or 1950’s would have contained songs with lyrics about adult love, romance, sophistication, humor, narrative tales and apt generalizations about the whole range of human behavior. There would also have been string orchestral and Big Band recordings and novelty instrumental pieces, such was the broad taste of adults of that time.

When I was a child during the Second World War we used to gather in air raid shelters at night and the people would sing the popular songs, not only of that time, but of times that stretched back to before the First World War and the turn of the previous century. None of it was considered to be ‘out-dated’ if the tune was tuneful and the words expressed something worthwhile. In the collective memory there was an encyclopedia of music. When I first became interested in modern jazz I was struck by the ability of improvising musicians like Charlie Parker and Paul Desmond to incorporate into their solos quotations from all previous musical eras. We all knew that styles changed and some became stale but we also knew that a good tune and a good lyric should be timeless.

If I had to isolate one quality that has been expunged from the new Culture it is ‘spirituality’. This concept encapsulates all those qualities that enrich normal human life and which could once be found in popular music – happiness, sadness, drama, humor, tragedy and beauty, to name just some of them. The bumper music of even the most thoughtful Talk Radio hosts like Limbaugh and Hannity is pathetically juvenile and lacking in spirituality and if such people, already in mid-life, have been musically brutalized, what hope is there? The young of today, culturally brainwashed, refuse to listen for one moment to any music not of the moment and would consider it to be a form of torture to be forced to. I have been attending a Church for the last few months and the music is awful. The tunes, repetitious and formless in themselves, have empty, repetitious lyrics that rarely rhyme. At first I thought the music, which forms a large part of the Service and which requires a choir and band, had been dumbed down to attract young people. Now I realize that it simply expresses the only music the congregation of all ages knows. What happened to the beauty, the poetry and spirituality of Hymns Ancient and Modern? They are beyond these otherwise good people. Why have the Black members of the Congregation abandoned the spiritually moving music of the Gospel singers of the Mahalia Jackson era? They do not know it.

We should not be surprised, for the new Class that rules us and has been imposing its lifestyle on generations has no spirituality. Indeed it is on a mission to destroy spirituality, for the Christianity that has shaped our culture represents all that the Media Class seeks to obliterate. The explanation for music that has no tune, lyrics that have no poetic form, ‘art’ that has been reduced to a bottle of urine with an image of Christ contained in it and hymns without spiritual grace, lies in the make-up of those who now rule, for we now have rulers who seek to remake human nature.

Michael Jackson, a Media icon, could not decide whether to be a man or a woman. The homosexuality that permeates the Ruling Class, seeks to abolish the sexes. When a man demands to ‘marry’ another man and call him ‘my wife’ and a woman marries another woman and calls her ‘my husband’, and when transvestites are accorded the ‘civil right’ to choose a gender at whim and children are taught to experiment with same sex sexual relations, we are embarking on a revolutionary journey where the two sexes of nature and of human history, have to be abolished.

It is only when we understand the nature and agenda of the new Ruling Class that we can explain why so many male pop singers dress as women, why pop music is never adult, why masculinity is absent and why it is all unhappy, angry and shallow, for we are ruled by those who are really filled with self-loathing but seek to change the world in their own image.

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