What makes whites “hate” classical music?; spiritual reading: words are inadequate

The greatest conductor ever, Herbert von Karajan, twice joined the NSDAP, but after the war his staggering genius led many to demand he be allowed to work again. He coaxed the most beautiful, sweet sounds out of his orchestra. See below.

.

….Amazingly, the great “Soylent Green” dystopic movie seguéd into Beethoven’s “Pastorale”!

My parents were basically good but not deep people, and listened to popular music. My dad loved Sinatra and the swing orchestra of Stan Kenton.

I liked the “Beach Boys” as a kid, and played the drums myself in a garage band.

This was their “In My Room” 🙂

Even the raunchy Rolling Stones had a few sweet songs, too, such as “Ruby Tuesday”:

A turning point in my tastes, however, or rather a re-turning point 😉  , was seeing the 1973 hit movie “Soylent Green,” where a jarring scene leads into a Beethoven symphony. 

The late, great actor Charlton Heston (later a champion of gun rights, the Second Amendment and president of the NRA) was the star.

Heston also had an amazing personal armory. 😉

 

He played a cop in a horrible, dystopian future (which is EXACTLY what the jews are planning, and they are doing their usual warn-the-victim via such films):

–overpopulated world

–vast, sprawling, ugly cityscapes;

–dirt-poor masses; a few filthy-rich billionaires rule over them;

–and nature and wildlife are all polluted and dead.

.

The regime that Heston’s character serves is now encouraging miserable old people to be euthanized. (As for what “Soylent Green” is…. I won’t say it.)

So there is a scene in there where the cop, Heston, attends the euthanasia of his friend Sol [yes, yes, the wise old jew… 😉 ], played by the once famous actor (((Edward G. Robinson))), born Goldenberg, who actually did die two weeks after the film was completed…..

As the euthanasia drug starts to take effect on the senior, Sol, who has chosen to “check out” of this hideous, dystopian world, he sees gorgeous scenes of nature and animals — all things which in this future world only the rich can still see, not the miserable urbanites. And then Beethoven’s magnificent symphony number 6, “Pastorale,” is played (followed by a bit of Tchaikovsky).   Heston’s tough-cop character begins to cry at the scenes of natural beauty he has literally never seen before in his life.

And this is what the Jew World Order is, and their “Agenda 20” (now renamed “Agenda 30”), and the movie “Elysium” shows it too: the masses are miserable and cooped up in overcrowded cities as work slaves while the rich, on their vast plantations, with thousands of serfs, enjoy staggering wealth and ease.

Anyway, after this movie was over (and no one can forget the final scene, where the cop tries to yell out an alert to humanity about “Soylent Green”), I sat there stunned…. both by the horror of the “life” (the EXISTENCE) the jews have planned for us, and yet also by the breathtaking beauty of both nature and symphonic music.

More on the “Pastorale” below.

.

…..Spiritual reading

June 26 Sometimes the words are really not all that helpful. You are accustomed to them, to playing in the field of language, to living through it and in the structure that it creates. Beautiful though it can be, the limitations that it places on your experience are great.

Today, consider feeling your life. Allow yourself to know what you know before you create form around it with words. Give yourself the chance to drop into a place of consciousness that is far vaster and more precise than any description you might give of it. Or we might offer of it, for that matter.

And may we suggest that you give attention to the words that leave your lips, those that enter your ears and especially those that cavort in your mind. Just bring awareness to the ways in which you lean upon language to define yourself, your beingness, your actions, your world.

This is not an exercise so much as it is a doorway, an invitation to visit a much deeper and more meaningful level of living. You have the capacity to sink into, to merge with the forms of consciousness you encounter in a manner that is both profound and important. For instance, a simple challenge: connect with something blue, something intrinsically and joyously blue. And give yourself over to the blueness without naming it. Feel into the blue and let it be explored and known for what it is, not what it is called.

You can do this with anything. A tree.

A squirrel. A breath. A sensation. An emotion. Any art. A breeze. You get the idea.

So play if you will and see what you discover. Language, magnificent as both accomplishment and avenue, has been your primary and best means of communication, but this will not always be the case. Begin (or continue) to cultivate other, even richer ways of being and sharing, living and loving. Try it out.

And in the interests of integrity, we will stop here and leave open the space for your own direct knowing, while as always sending you much love and all of our blessings. — E. West

.

.

……. A “metal” song which (this is rare) I also like

Five Finger Death Punch – Remember Everything – YouTube
www.youtube.com › watch
Text

Oh, dear mother, I love you
I’m sorry, I wasn’t good enough
Dear father, forgive me
‘Cause in your eyes, I just never added up

In my heart I know I failed you
But you left me here alone
If I could hold back the rain
Would you numb the pain

‘Cause I remember everything

If I could help you forget
Would you take my regrets
‘Cause I remember everything

Oh, dear brother, just don’t hate me
For never standing by you or being by your side
Dear sister, please don’t blame me

I only did what I thought was truly right
It’s a long and lonely road
When you know you walk alone

If I could hold back the rain
Would you numb the pain
‘Cause I remember everything
If I could help you forget

Would you take my regrets
‘Cause I remember everything
I feel like running away
I’m still so far from home

You say that I’ll never change
But what the fuck do you know
I’ll burn it all to the ground before I let you run
Please forgive me, I can’t forgive you now

I remember everything

If I could hold back the rain, would you numb the pain
‘Cause I remember everything
If I could help you forget, would you take my regrets
‘Cause I remember everything

It all went by so fast
I still can’t change the past
I always will remember everything
If we could start again

Would that change the end
We remember everything
Everything

Quelle: LyricFind

Songwriter: Ivan Moody / Jeremy Spencer / Kane Churko / Kevin Churko / Thomas Jason Grinstead / Zoltan Bathroy

Songtext von Remember Everything © Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.
.

.

How much this applies to me…… and to most of us!

Especially MK-ULTRA.

Jews, I have not forgotten. Not one scream or drop of blood.

 

…… Beethoven’s “Pastorale” as conducted by the late, great Herbert von Karajan (rumored to have been a “Nazi”) and the Berlin Philharmonic

Wiki:

Early engagement
Karajan made his conductor debut in Salzburg on 22 January 1929. The performance brought attention of the general manager of the Stadttheater in Ulm, and eventually led to Karajan’s first appointment as assistant Kapellmeister of the theater.[15][16] His senior colleague in Ulm was (((Otto Schulmann))). After Schulmann was forced to leave Germany in 1933 with the NSDAP take-over, Karajan was promoted to first Kapellmeister.

Nazi years

In the postwar era Karajan maintained a silence about his Nazi Party membership which gave rise to a number of conflicting stories regarding it. One version asserts that because of the changing political climate and the destabilization of his position, Karajan attempted to join the Nazi Party in Salzburg in April 1933, though his membership was later declared invalid for he somehow failed to follow up the application[16] and that Karajan formally joined the Nazi Party in Aachen in 1935, implying that he was not eager to pursue membership. More recent scholarship clears up this confusion: “[t]he truth is that Karajan actually joined the Nazi Party twice. The first time this happened was on 8 April 1933 in Salzburg. He paid the admission fee, received the membership number 1607525 and moved to Ulm. It is said that this accession was never formally carried out. It is also certain that Karajan rejoined the Nazi Party in Aachen in March 1935, this time receiving the membership number 3430914. After the annexation of Austria, the responsible Reich Treasurer of the Nazi Party discovered Karajan’s double membership in Munich and declared the first accession invalid. The second was made retroactive to 1 May 1933.”[20] During the entire Nazi era he “never hesitated to open his concerts with the Nazi favorite “Horst-Wessel-Lied”.[This quote needs a citation] Karajan “always maintained he joined strictly for career reasons.”[21] His career could not have proceeded without interruption without his demonstratively lukewarm membership.[original research?] His enemies referred to him as “SS Colonel von Karajan”.[22]

In 1933 Karajan made his conducting debut at the Salzburg Festival with the Walpurgisnacht Scene in Max Reinhardt’s production of Faust. In Salzburg in 1934, Karajan led the Vienna Philharmonic for the first time, and from 1934 to 1941, he was engaged to conduct operatic and symphony-orchestra concerts at the Theater Aachen.

Karajan’s career was given a significant boost in 1935 when he was appointed Germany’s youngest Generalmusikdirektor and performed as a guest conductor in Bucharest, Brussels, Stockholm, Amsterdam and Paris.[23] In 1938 Karajan made his debut with the Berlin Philharmonic. The same year, he made his debut with the Berlin State Opera conducting Fidelio, and then enjoyed a major success at the State Opera with Tristan und Isolde. His performance was hailed by a Berlin critic as Das Wunder Karajan (the Karajan miracle). The critic asserted that Karajan’s “success with [Richard] Wagner’s demanding work Tristan und Isolde sets himself alongside [Wilhelm] Furtwängler and Victor de Sabata, the greatest opera conductors in Germany at the present time”.[18] Receiving a contract with Deutsche Grammophon that same year, Karajan made the first of numerous recordings, conducting the Staatskapelle Berlin in the overture to The Magic Flute.

World War II

Karajan’s career continued to thrive at the beginning of the war. In 1939 the Berlin State Opera appointed Karajan as State Kapellmeister and conductor of symphony concerts by the Prussian State Orchestra.[15] He then became music director of the Staatskapelle Berlin, with which he toured in Rome with extraordinary success.[16] However, in the following year his contract in Aachen was discontinued. His marriage to the partly Jewish Anita Gütermann and the prosecution of his agent Rudolf Vedder also contributed to the temporary professional decline, leaving him few engagements beyond a limited season of concerts with the Staatskapelle.[24]

This is an amazing video due to the sound and the stellar camerawork!

 

If classical Aryan music, even on an occasional basis, turns you off, maybe your soul might need some fine tuning?

I love country and soft rock myself, but THIS music can lift you higher! 🙂

.

.

……Recent donations

–26 June 2020 $88 from G in Cicero, Illinois via Amazon gift card

And this Irish-American sent this along, too 😉

–26 June 2020  $335 from ten people for Margi’s MEDICAL FUNDRAISER ON HER NON-POLITICAL FB PAGE

Thank you, friends! 🙂

.

.

.