FIDDY BOOMING YEARS OF (((WOODSTOCK)))

Last weekend marked the fiftieth anniversary of the music festival Woodstock. Held between 15th and 18th August 1969, the event has been heralded as one of the landmarks of the alleged former counterculture, now the prevalent cultural hegemony. It was billed as "An Aquarian Exposition" and "3 Days of Peace & Music", and was descended upon by around 400,000 impressionable baby boomers hungry for hedonism. The Aquarian reference is important, because it gives away the underlying ideology of "the Age of Aquarius" behind the event purported as innocuous at the time. Indeed, on this fiddieth anniversary of Woodstock, the media have not stopped crowing about how the event shaped hearts and minds and helped change society.

 

 

The Age of Aquarius is the astrological age that we are allegedly living in now, according to so-called mystics and astrologers such as August Vandekerkhove, Nicolas Campion, Shelley von Strunckel, Willaru Huayta, Agni Yoga, Alice Bailey, Patrizia Norelli-Bachelet and Benjamin Creme. They and the New Age Movement in general characterize it as an era of universality, humanism, science, technology, nonconformity, harmony, globalism, freedom, truth and humanity. Science and technology are certainly associated with the sign aquarius, but the others are posited in such a way that reflect rather the ideological bias of the alleged mystics and astrologers. Indeed, attitudes towards the Aquarian Age have rather been influenced by the Leftist agit-prop musical Hair, released in 1967 and premiered on Broadway in 1968, whose lyrics are the main reference point of the poster:

 

When the moon is in the Seventh House
And Jupiter aligns with Mars
Then peace will guide the planets
And love will steer the stars

This is the dawning of the age of Aquarius
The age of Aquarius
Aquarius!
Aquarius!

Harmony and understanding
Sympathy and trust abounding
No more falsehoods or derisions
Golden living dreams of visions
Mystic crystal revelation
And the mind's true liberation
Aquarius!
Aquarius!

Hair was written by two homosexual Whites Gerome Ragni and James Rado(mski) and a White Negrophile Galt MacDermott, and uses the unpopular draught for the Vietnam War as an excuse to attack all pre-1960s American values of post-Puritan Christianity, liberal capitalism, racial segregation, heteronormativity, the nuclear family and general social conformity. Specific targets mentioned in the piece include Richard Nixon and George Wallace as figures to hate. Originally seized upon by the Jews behind the new Public Theatre, Joseph Papp, Gerald Freedman, Bernard Gersten and Anna Sokolow, it became the establishment's first performance upon the former Astor Library's renovation. 

 

The Astor Library Building had been owned by the Hebrew Immigrant Aid Society and Joseph Papp persuaded the newly created Landmarks Preservation Commission to put a preservation order on it, then to purchase it from the HIAS on behalf of Papp for his New York Shakespeare Festival for a figure around $550,000 with the aid of the also newly created National Endowment for the Arts. The contract for renovation was given to another Jew, Giorgio Cavaglieri, who had left Venice in 1939 just before the compulsory registration of Jews. Papp then warned liberal bourgeois Mayor John Lindsay - a man he detested as a WASP liberal - that 'Conservatism [had] been moving very swiftly over the past few years' to persuade him that the City needed to buy the Public Theatre. Among the aims of the project were for it to 'be organically linked to the educational apparatus of the City' and 'reflect in every area of its operation the multi-racial composition of the City'. Thus, the indoctination of the young into multiculturalism. Queens borough president and fellow Jew Sidney Leviss facilitated the purchase of the building by the City for $2.6 million and the leasing of it back to the Public Theatre company for $1 per year and netting Papp $2 million in the process. Not bad business if one has the (((contacts))).

 

The Public Theatre building stood and still stands in the heart of the heavily Jewish area of New York's East Side and provided the counter-cultural epicentre of the New York Jews' assault on WASP society Papp had longed for. Hair came at just the right time. Gentile Broadway producer and champagne socialist Michael Butler, known as the 'hippie millionaire', realised its potential for gaining popularity for and with the Yippie movement he sought to move closer to, and put Hair on at the Biltmore Theatre. The Yippies were again Jewish led (by Jerry Rubin and Abbie Hoffman) Leftist extremists and terrorists and were also interested in Hair as agit-prop, asking Butler to stage a benefit performance of the musical for the Yippies. Hoffman later threatened to burn down Butler's polo pony stables. There is no doubt Jews knew the power Hair had of destroying American culture and identity. As Jonathan Mark wrote in the Times of Israel: 

 

 “Hair” and that culture’s diminishment of America as a country that was “finished” played no small part in inspiring many young American Jews to make aliyah. Many Jews turned summers in Israel (rather than California or the Village) into their “Summer of Love,” and those Israeli summers turned into many a winter, summer and spring. I’d wager that the ones who did head to Israel ended up ahead of those who headed for Haight-Ashbury.

 

So then, 'Woodstock for thee, but Zionism for me'. It was the success of Hair that turned the hippie movement from a fringe off-grid drug-fueled subculture into a revolutionary politicised counter-culture. Hippie culture became fused with Yippie politics. Realising the potential to capitalise on inroads other Jews had made in destroying the host culture, two Jews in the music industry Artie Kornfeld and Michael Lang, and two Jewish financiers John P Roberts (real name Rottenberg) and Joel Rosenman set about organising a counter-cultural music festival in the same vein. Rosenman has maintained that the original idea was for a recording studio with an opening ceremony, but Kornfeld maintains that the idea was always for a festival. This I believe is the true version of events, because Lang had already organised several concerts and music festivals, including the Miami Pop Festival of 1968 that headlined the Jimi Hendrix Experience. 'What if we took a Broadway theatre and just made it free?' Kornfeld stated, echoing the sentiments of Papp's New York Shakespeare Festival.

 

 

 

The Woodstock area had become home to various musicians and artists, hence the name of the 'Aquarian' festival, even though it was held on fellow Jew Max Yasgur's farmland 50 miles away in Bethel, an LGBT Jew Elliot Tiber's land having been considered. Jewish artist Arnold Skolnick provided the poster above. 'One hand washes the other.' Yasgur promised 'three days of fun and music' as he opened the festival, but politics were never far from the surface. Their reason and common sense inhibited by hedonism and LSD, 400,000 young baby boomers were indoctrinated into the politics of the extreme Left. Touts from various Leftist groups went among the crowd 'befriending' the naive and impressionable. Then, midway through The Who's performance, the aforementioned Abbie Hoffman got up on stage, grabbed a mic and began to give a speech decrying the imprisonment of fellow Yippie John Sinclair of the White Panther Party, before Pete Townshend wrapped his guitar round his head, sending him flying back off stage. In his own trial for conspiracy and inciting riots, Hoffman openly displayed his racist contempt for the White Europeans he had led astray, calling his namesake Judge Hoffman 'a schande foar di goyim', Yiddish for 'a disgrace before the goyim'.

 

The most enduring image of Woodstock for me, though, is nothing to do with the music nor the people, but the immediate aftermath in which one saw the devastation the festival left on the farmland. The same baby boomers and Jewish prophets who had talked of saving the world left those fields in Bethel like a landfill site. It is the same after Glastonbury every year, with the same politics being parroted by the same soft-handed bourgeois fake-rebels against the system whose values they embrace, and the same mess that has to be cleaned up after every concert. The Woodstock boomers are in charge of the system now. They ARE the system. Fifty years on, is there any wonder the seas have floating islands of plastic and the countryside and great forests are being diminished and destroyed with every passing year? It is time for a return of the Right. Not mealy-mouthed woolly conservatism, but proper Rightism, that favours the local and ethnic above the global and the melting pot, that favours Nature above theory and common sense above 'the feels'. If the Age of Aquarius is to be one of understanding and harmony, it cannot be left to the Left. The planet depends on it.