Music

Wilhelm Furtwängler and Music in the Third Reich

http://www.renegadetribune.com/wilhelm-furtwangler-music-third-reich/

 

Renegade Editor’s Note: Here’s a good video to pique your interest.

By Antony Charles

From The Journal of Historical Review, May-June 1998 (Vol. 17, No. 3), pp. 2 ff.

Not only during his lifetime, but also in the decades since his death in 1954, Wilhelm Furtwängler has been globally recognized as one of the greatest musicians of this century, above all as the brilliant primary conductor of the Berlin Philharmonic orchestra, which he lead from 1922 to 1945, and again after 1950. On his death, the Encyclopaedia Britannica commented: “By temperament a Wagnerian, his restrained dynamism, superb control of his orchestra and mastery of sweeping rhythms also made him an outstanding exponent of Beethoven.” Furtwängler was also a composer of merit

Underscoring his enduring greatness have been several recent in-depth biographies and a successful 1996 Broadway play, “Taking Sides,” that portrays his postwar “denazification” purgatory, as well as steadily strong sales of CD recordings of his performances (some of them available only in recent years). Furtwängler societies are active in the United States, France, Britain, Germany and other countries. His overall reputation, however, especially in America, is still a controversial one.

Following the National Socialist seizure of power in 1933, some prominent musicians – most notably such Jewish artists as Bruno Walter, Otto Klemperer and Arnold Schoenberg – left Germany. Most of the nation’s musicians, however, including the great majority of its most gifted musical talents, remained – and even flourished. With the possible exception of the composer Richard Strauss, Furtwängler was the most prominent musician to stay and “collaborate.”

Consequently, discussion of his life – even today – still provokes heated debate about the role of art and artists under Hitler and, on a more fundamental level, about the relationship of art and politics.

A Non-Political Patriot

Wilhelm Furtwängler drew great inspiration from his homeland’s rich cultural heritage, and his world revolved around music, especially German music. Although essentially non-political, he was an ardent patriot, and leaving his fatherland was simply out of the question.

Ideologically he may perhaps be best characterized as a man of the “old” Germany – a Wilhelmine conservative and an authoritarian elitist. Along with the great majority of his countrymen, he welcomed the demise of the ineffectual democratic regime of Germany’s “Weimar republic” (1918–1933). Indeed, he was the conductor chosen to direct the gala performance of Wagner’s “Die Meistersinger” for the “Day of Potsdam,” a solemn state ceremony on March 21, 1933, at which President von Hindenburg, the youthful new Chancellor Adolf Hitler and the newly-elected Reichstag formally ushered in the new government of “national awakening.” All the same, Furtwängler never joined the National Socialist Party (unlike his chief musical rival, fellow conductor Herbert von Karajan).

It wasn’t long before Furtwängler came into conflict with the new authorities. In a public dispute in late 1934 with Propaganda Minister Joseph Goebbels over artistic direction and independence, he resigned his positions as director of the Berlin Philharmonic and as head of the Berlin State Opera. Soon, however, a compromise agreement was reached whereby he resumed his posts, along with a measure of artistic independence. He was also able to exploit both his prestigious position and the artistic and jurisdictional rivalries between Goebbels and Göring to play a greater and more independent role in the cultural life of Third Reich Germany.

From then on, until the Reich’s defeat in the spring of 1945, he continued to conduct to much acclaim both at home and abroad (including, for example, a highly successful concert tour of Britain in 1935). He was also a guest conductor of the Vienna Philharmonic, 1939–1940, and at the Bayreuth Festival. On several occasions he led concerts in support of the German war effort. He also nominally served as a member of the Prussian State Council and as vice-president of the “Reich Music Chamber,” the state-sponsored professional musicians’ association.

Throughout the Third Reich era, Furtwängler’s eminent influence on Europe’s musical life never diminished.

Cultural Vitality

For Americans conditioned to believe that nothing of real cultural or artistic merit was produced in Germany during the Hitler era, the phrase “Nazi art” is an oxymoron – a contradiction in terms. The reality, though, is not so simple, and it is gratifying to note that some progress is being made to set straight the historical record.

This is manifest, for example, in the publication in recent years of two studies that deal extensively with Furtwängler, and which generally defend his conduct during the Third Reich: The Devil’s Music Master by Sam Shirakawa [reviewed in the Jan.–Feb. 1994 Journal, pp. 41–43] and Trial of Strength by Fred K. Prieberg. These revisionist works not only contest the widely accepted perception of the place of artists and arts in the Third Reich, they express a healthy striving for a more factual and objective understanding of the reality of National Socialist Germany.

Prieberg’s Trial of Strength concentrates almost entirely on Furtwängler’s intricate dealings with Goebbels, Göring, Hitler and various other figures in the cultural life of the Third Reich. In so doing, he demonstrates that in spite of official measures to “coordinate” the arts, the regime also permitted a surprising degree of artistic freedom. Even the anti-Jewish racial laws and regulations were not always applied with rigor, and exceptions were frequent. (Among many instances that could be cited, Leo Blech retained his conducting post until 1937, in spite of his Jewish ancestry.) Furtwängler exploited this situation to intervene successfully in a number of cases on behalf of artists, including Jews, who were out of favor with the regime. He also championed Paul Hindemith, a “modern” composer whose music was regarded as degenerate.

The artists and musicians who left the country (especially the Jewish ones) contended that without them, Germany’s cultural life would collapse. High culture, they and other critics of Hitler and his regime arrogantly believed, would wither in an ardently nationalist and authoritarian state. As Prieberg notes: “The musicians who emigrated or were thrown out of Germany from 1933 onwards indeed felt they were irreplaceable and in consequence believed firmly that Hitler’s Germany would, following their departure, become a dreary and empty cultural wasteland. This would inevitably cause the rapid collapse of the regime.”

Time would prove the critics wrong. While it is true that the departure of such artists as Fritz Busch and Bruno Walter did hurt initially (and dealt a blow to German prestige), the nation’s most renowned musicians – including Richard Strauss, Carl Orff, Karl Böhm, Hans Pfitzner, Wilhelm Kempff, Elizabeth Schwarzkopf, Herbert von Karajan, Anton Webern, as well as Furtwängler – remained to produce musical art of the highest standards. Regardless of the emigration of a number of Jewish and a few non-Jewish artists, as well as the promulgation of sweeping anti-Jewish restrictions, Germany’s cultural life not only continued at a high level, it flourished.

The National Socialists regarded art, and especially music, as an expression of a society’s soul, character and ideals. A widespread appreciation of Germany’s cultural achievements, they believed, encouraged a joyful national pride and fostered a healthy sense of national unity and mission. Because they regarded themselves as guardians of their nation’s cultural heritage, they opposed liberal, modernistic trends in music and the other arts, as degenerate assaults against the cultural-spiritual traditions of Germany and the West.

Acting swiftly to promote a broad revival of the nation’s cultural life, the new National Socialist government made prodigious efforts to further the arts and, in particular, music. As detailed in two recent studies (Kater’s The Twisted Muse and Levi’s Music in the Third Reich), not only did the new leadership greatly increase state funding for such important cultural institutions as the Berlin Philharmonic and the Bayreuth Wagner Festival, it used radio, recordings and other means to make Germany’s musical heritage as accessible as possible to all its citizens.

As part of its efforts to bring art to the people, it strove to erase classical music’s snobbish and “class” image, and to make it widely familiar and enjoyable, especially to the working class. At the same time, the new regime’s leaders were mindful of popular musical tastes. Thus, by far most of the music heard during the Third Reich era on the radio or in films was neither classical nor even traditional. Light music with catchy tunes – similar to those popular with listeners elsewhere in Europe and in the United States – predominated on radio and in motion pictures, especially during the war years.

The person primarily responsible for implementing the new cultural policies was Joseph Goebbels. In his positions as Propaganda Minister and head of the “Reich Culture Chamber,” the umbrella association for professionals in cultural life, he promoted music, literature, painting and film in keeping with German values and traditions, while at the same time consistent with popular tastes.

Hitler’s Attitude

No political leader had a keener interest in art, or was a more enthusiastic booster of his nation’s musical heritage than Hitler, who regarded the compositions of Beethoven, Wagner, Bruckner and the other German masters as sublime expressions of the Germanic “soul.”

Hitler’s reputation as a bitter, second rate “failed artist” is undeserved. As John Lukacs acknowledges in his recently published work, The Hitler of History (pp. 70–72), the German leader was a man of real artistic talent and considerable artistic discernment.

We perhaps can never fully understand Hitler and the spirit behind his political movement without knowing that he drew great inspiration from, and identified with, the heroic figures of European legend who fought to liberate their peoples from tyranny, and whose stories are immortalized in the great musical dramas of Wagner and others.

This was vividly brought out by August Kubizek, Hitler’s closest friend as a teenager and young man, in his postwar memoir (published in the US under the title The Young Hitler I Knew). Kubizek describes how, after the two young men together attended for the first time a performance in Linz of Wagner’s opera “Rienzi,” Hitler spoke passionately and at length about how this work’s inspiring story of a popular Roman tribune had so deeply moved him. Years later, after he had become Chancellor, he related to Kubizek how that performance of “Rienzi” had radically changed his life. “In that hour it began,” he confided.

Hitler of course recognized Furtwängler’s greatness and understood his significance for Germany and German music. Thus, when other officials (including Himmler) complained of the conductor’s nonconformity, Hitler overrode their objections. Until the end, Furtwängler remained his favorite conductor. He was similarly indulgent toward his favorite heldentenor, Max Lorenz, and Wagnerian soprano Frida Leider, each of whom was married to a Jew. Their cultural importance trumped racial or political considerations.

Postwar Humiliations

A year and a half after the end of the war in Europe, Furtwängler was brought before a humiliating “denazification” tribunal. Staged by American occupation authorities and headed by a Communist, it was a farce. So much vital information was withheld from both the tribunal and the defendant that, Shirakawa suggests, the occupation authorities may well have been determined to “get” the conductor.

In his closing remarks at the hearing, Furtwängler defiantly defended his record:

The fear of being misused for propaganda purposes was wiped out by the greater concern for preserving German music as far as was possible … I could not leave Germany in her deepest misery. To get out would have been a shameful flight. After all, I am a German, whatever may be thought of that abroad, and I do not regret having done it for the German people.

Even with a prejudiced judge and serious gaps in the record, the tribunal was still unable to establish a credible case against the conductor, and he was, in effect, cleared.

A short time later, Furtwängler was invited to assume direction of the Chicago Symphony. (He was no stranger to the United States: in 1927–29 he had served as visiting conductor of the New York Philharmonic.)

On learning of the invitation, America’s Jewish cultural establishment launched an intense campaign – spearheaded by The New York Times, musicians Artur Rubinstein and Vladimir Horowitz, and New York critic Ira Hirschmann – to scuttle Furtwängler’s appointment. As described in detail by Shirakawa and writer Daniel Gillis (in Furtwängler and America) the campaigners used falsehoods, innuendos and even death threats.

Typical of its emotionally charged rhetoric was the bitter reproach of Chicago Rabbi Morton Berman:

Furtwängler preferred to swear fealty to Hitler. He accepted at Hitler’s hands his reappointment as director of the Berlin Philharmonic Orchestra. He was unfailing in his service to Goebbels’ ministry of culture and propaganda … The token saving of a few Jewish lives does not excuse Mr. Furtwängler from official, active participation in a regime which murdered six million Jews and millions of non-Jews. Furtwängler is a symbol of all those hateful things for the defeat of which the youth of our city and nation paid an ineffable price.

Among prominent Jews in classical music, only the famous violinist Yehudi Menuhin defended the German artist. After Furtwängler was finally obliged to withdrew his name from consideration for the Chicago post, a disillusioned Moshe Menuhin, Yehudi’s father, scathingly denounced his co-religionists. Furtwängler, he declared,

was a victim of envious and jealous rivals who had to resort to publicity, to smear, to calumny, in order to keep him out of America so it could remain their private bailiwick. He was the victim of the small fry and puny souls among concert artists, who, in order to get a bit of national publicity, joined the bandwagon of professional idealists, the professional Jews and hired hands who irresponsibly assaulted an innocent and humane and broad-minded man …

A Double Standard

Third Reich Germany is so routinely demonized in our society that any acknowledgment of its cultural achievements is regarded as tantamount to defending “fascism” and that most unpardonable of sins, anti-Semitism. But as Professor John London suggests (in an essay in The Jewish Quarterly, “Why Bother about Fascist Culture?,” Autumn 1995), this simplistic attitude can present awkward problems:

Far from being a totally ugly, unpopular, destructive entity, culture under fascism was sometimes accomplished, indeed beautiful … If you admit the presence, and in some instances the richness, of a culture produced under fascist regimes, then you are not defending their ethos. On the other hand, once you start dismissing elements, where do you stop?

In this regard, is it worth comparing the way that many media and cultural leaders treat artists of National Socialist Germany with their treatment of the artists of Soviet Russia. Whereas Furtwängler and other artists who performed in Germany during the Hitler era are castigated for their cooperation with the regime, Soviet-era musicians, such as composers Aram Khachaturian and Sergei Prokofiev, and conductors Evgeny Svetlanov and Evgeny Mravinsky – all of whom toadied to the Communist regime in varying degrees – are rarely, if ever, chastised for their “collaboration.” The double standard that is clearly at work here is, of course, a reflection of our society’s obligatory concern for Jewish sensitivities.

The artist and his work occupy a unique place in society and history. Although great art can never be entirely divorced from its political or social environment, it must be considered apart from that. In short, art transcends politics.

No reasonable person would denigrate the artists and sculptors of ancient Greece because they glorified a society that, by today’s standards, was hardly democratic. Similarly, no one belittles the builders of medieval Europe’s great cathedrals on the grounds that the social order of the Middle Ages was dogmatic and hierarchical. No cultured person would disparage William Shakespeare because he flourished during England’s fervently nationalistic and anti-Jewish Elizabethan age. Nor does anyone chastise the magnificent composers of Russia’s Tsarist era because they prospered under an autocratic regime. In truth, mankind’s greatest cultural achievements have most often been the products not of liberal or egalitarian societies, but rather of quite un-democratic ones.

A close look at the life and career of Wilhelm Furtwängler reveals “politically incorrect” facts about the role of art and artists in Third Reich Germany, and reminds us that great artistic creativity and achievement are by no means the exclusive products of democratic societies.

Bibliography

Gillis, Daniel. Furtwängler and America. Palo Alto: Rampart Press, 1970

Kater, Michael H. The Twisted Muse: Musicians and Their Music in the Third Reich. New York: Oxford University Press, 1997

Levi, Erik. Music in the Third Reich. New York: St. Martin’s Press, 1994

Prieberg, Fred K. Trial of Strength: Wilhelm Furtwängler in the Third Reich. Boston: Northeastern University Press, 1994

Shirakawa, Sam H. The Devil’s Music Master: The Controversial Life and Career of Wilhelm Furtwängler. New York: Oxford University Press, 1992

A Note on Wartime Recordings

Among the most historically fascinating and sought-after recordings of Wilhelm Furtwängler performances are his live wartime concerts with the Berlin and Vienna Philharmonic orchestras. Many were recorded by the Reich Broadcasting Company on magnetophonic tape with comparatively good sound quality. Music & Arts (Berkeley, California) and Tahra (France) have specialized in releasing good quality CD recordings of these performances. Among the most noteworthy are:

Beethoven, Third “Eroica” Symphony (1944) – Tahra 1031 or Music & Arts CD 814

Beethoven, Fifth Symphony (1943) – Tahra set 1032/33, which also includes Furtwängler’s performances of this same symphony from 1937 and 1954.

Beethoven, Ninth “Choral” Symphony (1942) – Music & Arts CD 653 or Tahra 1004/7.

Brahms, Four Symphonies – Music & Arts set CD 941 (includes two January 1945 performances, Furtwängler’s last during the war).

Bruckner, Fifth Symphony (1942) – Music & Arts CD 538

Bruckner, Ninth Symphony (1944) – Music & Arts CD 730 (also available in Europe on Deutsche Gramophon CD, and in the USA as an import item).

  1. Strauss, “Don Juan” (1942), and Four Songs, with Peter Anders (1942), etc. – Music & Arts CD 829.

Wagner, “Die Meistersinger:” Act I, Prelude (1943), and “Tristan und Isolde:” Prelude and Liebestod (1942), etc. – Music & Arts CD 794.

Wagner, “Der Ring des Nibelungen,” excerpts from “Die Walküre” and “Gotterdämmerung” – Music & Arts set CD 1035 (although not from the war years, these 1937 Covent Garden performances are legendary)

“Great Conductors of the Third Reich: Art in the Service of Evil” is a worthwhile 53-minute VHS videocassette produced by the Bel Canto Society (New York). Released in 1997, it is distributed by Allegro (Portland, Oregon). It features footage of Furtwängler conducting Beethoven’s Ninth Symphony for Hitler’s birthday celebration in April 1942. He is also shown conducting at Bayreuth, and leading a concert for wounded soldiers and workers at an AEG factory during the war. Although the notes are highly tendentious, the rare film footage is fascinating.

Knowledge and Power

“Knowledge will forever govern ignorance. And a people who mean to be their own governors must arm themselves with the power knowledge gives. A popular government, without popular information, or the means of acquiring it, is but a prologue to a farce or a tragedy; or, perhaps both.”

—James Madison


Source: http://codoh.com/library/document/1113/

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I Hate The Christian Existence

For the past several months I have been writing hateful poetry against Jews, Blacks, and even Whites but nothing yet against the most hated group of people in my life, the Christians.  For it was Christians who raped me as a child, who cost me multiple employment opportunities, who stole my innocence as a child, who enslaved me to their false beliefs and false gods.  My earlier works was well received and resulted in the deaths of some Christians in the summer of 2015, let’s hope that success is repeated with this poem!

 

I Hate The Christian Existence

Christians involve their false gods
As they kneel before the cross
As they pray aloud
To gods that do not even exist
Their faces sicken me
So that’s why I choke their necks with their cross
Stabbing them around their necks
My hands begin to itch
As I only desire to break their fucking face
I have killed so many of them
Their souls only taste the joys of hell
Misery is all that awaits them
They shall fucking die in the house of their god
Christians were born to die from the start
For they are parasites that feed from others
Violence is all I shall deliver to them
If they stand in my way I will give them incredible pain
Pain they have never felt before
I hate the christian existence
I hate the christian existence
I hate the christian existence

The Renegade Killers

I was going through some of my old collection of songs and poems that I had long composed when I came upon this poem.  I had written it about 2 months ago due to my current and past anger at all kinds of black people including black kids and black parents.  Hopefully this poem will inspire others to take up their weapons and kill as many of these black animals that they can find due to the evils that they have done onto me!

 

The Renegade Killers

Run away from the blacks
Their souls were lost in rivalries
As we run wild and run free
Like two kids, just you and me

But I said kill
Kill, kill, kill
Killing blacks like I’m a renegade
Kill, kill, kill
Kill, kill, kill
Killing blacks like I’m a renegade
Renegade killer

Live long like the hateful pioneers
Rebels and Mutinies
Go far and kill with no fear
Come close and slice off their ear

All hail the killing dogs
All haill the dying kids
All hail the murderers
Niggers and Spics

It’s time to kill a black
It’s time to slit their throats
It’s time to end their lives
So let it begin!

Another Kike Bites The Dust

Yesterday I awoke to a notification on my phone and it was a message from a Jew by the name of Matt Katz.  Oddly he had no profile picture on his Facebook page, only had a picture of a penguin.  He started the conversation by asking what are my spiritual views and I told him that I don’t care for that considering the state of the present day world.  He would later send me a message ostracizing me for holding anti Jewish beliefs and then proceeded to unfriend me.  I sent one of my horsemen after his kike ass telling him that if he ever messages me again I will kill him and his family where they stood!  He tried to message me again but I had already acquired his location and sent one of my horsemen to kill him.  This poem will serve as inspiration and celebration to those who have killed Jews at some time in their lives and for others to do the same as well!

 

Another Kike Bites The Dust

Shlomo walks easily down the street
With the nose stuck way up high
Kike hears not the sounds of my feet
My guns and knives ready to kill!

Jews are ready
But they are not ready for this!
Jews shitting bricks as they lay on the edge of my seat
In the doorway I let the bullets rip through their flesh
The bullets make a sound to the beat of my hate!

Another kikes bites the dust
Another kike bites the dust
Another Jew is gone, and gone away forever!
Another kike bites the dust
Gonna kill all these jews too
As another kike bites the dust

Why did Jews thin they were ever going to get along with me
Without Jews, we will have true peace
Kikes took everything from me before I was even born
They even had me kicked out of my own family

Now are you kikes satisfied?
How long can you keep up the charade
For out of the hallway, I let the bullets rip
And the sounds of the shells bring peace to my mind

Another kike bites the dust
There are many ways that I can kill the kikes
As I bring them to their knees
You can stab them
You can shoot them
You can shoot them dead and leave them for dead

When the kike goes down
I will be ready to put another kike down again
Standing on my own feet ready to kill again
Out in the hallway, I let the bullets rip
The sounds of Jewish screams of death gives me my peace

Trouble With Blacks And Whites

About 2 days ago, I made a post on my Facebook profile asking that anyone who loves Jews or hates the works of Adolf Hitler and members of the Third Reich to unfriend me.  I got some people who respected my wishes and did as I asked for and didn’t even bother to leave me with any hate mail, but I also had blacks, whites, and Arabs attack me for wishing to clean out my life of the subhuman filth.  So I woke up today angry at both blacks and whites and decided to write this poem that will hopefully get both groups killed off in this country as this would be a good start to push for the glory of nihility, the glory of the empty world to come!

 

Trouble With Whites And Blacks

Sitting at the table with the window as the view,
Casting stares of death at people passing through
I spoke a lot of words, words that only speak the truth

Got so much hate to kill
Got so much people to kill
May the gods let them lose their minds

Trouble with the blacks,
Trouble with the whites
Been facing trouble with them all my life
My sweet death, won’t you kill them too?
Everytime I look I see the glimpse of death in you
I killed them for death just to take their lives, but know I killed them for you

Will they live or shall I kill them again?
They say that the rest get more wicked
Now you can take my heart at any time or place

Aboard The Anti-Jewish Colony

I was inspired to write this poem when the Jews targeted me once again a few days ago on Facebook.  It has gotten so bad that they are trying to infiltrate my own life after my successful fight against them on various social media platforms.  So I sat down to write this about what a great colony would look like after Jews, Freemasons, and Women are killed off in successful order.  Enjoy!

 

Aboard The Anti-Jewish Colony

I’m gonna kill you kikes
Like at a dance party over one hundred degrees
When Jews turn to dust, it becomes so exotic
Still they live their lives in vanity
Slut bitches have become such a natural reality
Prepare the gulags for them to spend in the weekends
Let humanity takes their florides and hardcore drugs
Those same feelings will sweat to their very pores
I must wait until I have completed the 100 year plan
They will never be able to change my stoic mind
For it is time to utilize chloroform and iodine against them!
Yet with my horsemen in hand
We see all the fun the killings will be
A justified genocide to shape mankind to their hips
A genocidal groove that can never be caught
Let us bring the lesions to the world
Let us bring the lesions to the women and feminists
For women are nothing but sluts and skanks
Life is not about living in the sun
Life is like getting the kiss of an h-bomb

German police said to open probe into White National Socialist music festival

German police have launched an investigation into a neo-Nazi music festival due to its violation of the country’s anti-Nazi laws, the Daily Mail reported

Over 6,000 attendees, many donning t-shirts with slogans such as “I love Hitler,” were seen striking the Nazi salute at the ‘Rock against Foreign Domination’ festival, which featured performances from a dozen “radical right-wing bands,” according to the report Monday.

Authorities in the German state of Thuringia, where the July 15 festival took place, had characterized the country’s largest neo-Nazi gathering as “relatively peaceful.”

Nevertheless, six people were provisionally placed under arrest and 32 criminal offenses were filed over property damage, illegal drug use, verbal abuse, and the use of signs identifying with anti-Constitutional organizations, the report said.

Attendees wait in line to enter the neo-Nazi 'Rock against Foreign Domination' festival in Thuringia, Germany on July 15, 2017. (Screen capture/YouTube)

Germany has strict anti-Nazi laws that include a ban on symbols that glorify Adolf Hitler’s regime or “re-engagement in National Socialist activities.”

But the festival did not take place without intense opposition from Thuringia locals. The town of 3,000 filed a pair court petitions against the neo-Nazi gathering, but judges in both cases ruled that the far-right group had the right to organize.

Some 500 protested outside the concert grounds, holding signs reading “out with the brown plague.” A local hotel also closed its doors, refusing to host the neo-Nazi attendees, the report said.

Justin Bieber: Pedophiles (Jews and White Freemasons) Run The ‘Evil’ Music Industry

Justin Bieber told the congregation at a Bible class in L.A. that the music industry is controlled by the worst kind of people - pedophiles.

Justin Bieber told hundreds of people at a Bible study class in Los Angeles that he has “woken up” to the “evils of the music industry” and he needs to take a break from the industry because it is “controlled by the absolute worst kind of people – pedophiles.”

Bieber has become a regular at the Bible study class held at the Montage in Beverly Hills and on Saturday 22nd July he shared what he described as a “horrific story” with the congregation and explained why he felt he had to quit his world tour.

Describing a party on tour – attended by the upper echelon of the music business, including executive VPs of development, producers, power agents and international financiers – Bieber said he was encouraged to sexually abuse a young child who had been bought to the party for the sexual gratification of the industry elite.

“I didn’t want to do this. I really didn’t. They said this kid was drugged, it was horrible,” Bieber said, explaining that it was made clear to him that he would gain entry to the “business side of the industry” if he “joined the club” by passing the initiation rites.

“I wouldn’t just be a performer, I’d be a mogul. That path would open up for me, like it did for Jay-Z.”

“It’s the difference between being a millionaire and being a billionaire.”

But Bieber told the congregation that he couldn’t do it.

“To join the club I’d have to do bad things to this poor kid. But then I realized that even that wasn’t enough for them. I’d also have to kill this little child.”

Bieber said he had heard rumors about this type of initiation in the music industry, but he had not been confronted with it before.

“I got told they secretly film these parties. Once they’ve got you on video doing something like that, they own you.”

Bieber said his conscience is clear because he didn’t participate, but the fate of the drugged child is haunting him.

“They said this kid was raped by a few different guys. They said he was bleeding. I got out of there but I heard he died and that haunts me.”

This allegation from Justin Bieber adds to the wave of accusations made by celebrities and musicians about the real nature of the music and entertainment industry elite. Corey Feldman and Elijah Wood have both gone on record exposing the pedophilia at the heart of Hollywood.

According to Elijah Wood, innocent young lives are destroyed to satisfy “people with parasitic interests” who “see you as their prey.” In an interview with the Sunday Times, Wood dropped a series of bombshells about the pedophiles that run the industry, noting that “Clearly something major was going on in Hollywood. It was all organized.”

If you read the Washington Post or watch CNN, pedophilia is not a problem, and those who talk about it are tinfoil hat wearing kooks perpetuating ‘fake news.’ But more and more stars are coming forward with similar stories about the depraved Hollywood and music industry system.

In recent months Nicole Kidman and Lindsay Lohan also spoke out about pedophilia in Hollywood. Close friends of Chris Cornell and Chester Bennington claim the recently deceased pair were working on exposing the pedophile ring working at the heart of the music industry – and it cost them their lives.

Justin Bieber shocked his fans by cancelling his world tour and announcing that he needed some time away from the music industry. But as more information comes to light, it appears he made the best possible decision.

Chester Bennington’s Close Friends + Bandmates Share Their Final Conversations With Linkin Park Singer

Isaac Brekken, Getty Images
Isaac Brekken, Getty Images

As the world continues to mourn the death of Linkin Park’s Chester Bennington, some of the singer’s closest friends have unveiled their final moments with him.

In a piece by Rolling Stone, musicians and longtime friends of Bennington’s shared all. Shortly before his death, Chester was planning a reunion tour with his pre-fame band Grey Daze. The gigs were supposed to happen in September and Grey Daze drummer Sean Dowdell recalls how excited Chester was for the run. “He was on top of the world,” says Dowdell, who spoke with Bennington just two days before his death.

Also in contact with Chester a few days before his suicide was Stone Temple Pilots’ Robert DeLeo. Bennington’s former STP bandmate said Chester’s messages were “loving, positive, looking-forward-to-the-future, growing-old kinds of things.” The day before Chester’s passing, he had even emailed former Guns N’ Roses drummer Matt Sorum about performing with all-star cover band Kings of Chaos again.

Ryan Shuck, who played guitar in Bennington’s side project Dead by Sunrise, says Chester was six months sober as of a month before his death. “He was describing an hour-by-hour battle with addiction,” Shuck recalls. “When I look at it now, it’s horrifying. He was telling me, down to the detail, what he would do in the first hour he wanted to drink: ‘I basically just take it hour-by-hour every day.’ ”

A partially empty bottle of alcohol was found near Chester’s body the day he died, which Shuck feels contributed to Bennington’s tragic decision. “We don’t know how much, but it doesn’t take much when you’re that advanced an alcoholic and an addict and you’re battling to the extent he described to me,” Shuck says. “You don’t need much to lose your mind for a minute.”

ZZ Top legend Billy Gibbons also shared some of his memories of Chester, “He always had enjoyable tales of his six kids, which he always referred to with a beaming smile, no matter what kind of parental woe might have had him do a double take,” stated Gibbons.

Linkin Park’s music has been skyrocketing since Bennington’s death. The band just broke a Billboard record with 23 tracks on the Hot Rock Songs chart and every Linkin Park album currently holds a place on the Billboard 200 Albums Chart.

Linkin Park Albums Ranked

Read More: Chester Bennington’s Close Friends Share Final Moments With Singer | http://loudwire.com/chester-bennington-close-friends-bandmates-final-conversations/?trackback=tsmclip

Shades Of Hate

I was inspired to write this while on my way to work this morning; having lived with the evils done to me by Christians, Jews, Muslims, Whites, Blacks, Latinos, Women, and many others, I write these songs/poems as a way for me to get my anger out and also as a way to inspire others to take their weapons and kill as many people as possible to bring forth the glory of nihility and the glory of an empty world to come.

 

Shades Of Hate

I shall make a belief that I shall hold steadfast
For hating all the bullshit given to me about my future and my past
Who are you Christians to force your wasted values upon me, I have learned the easy way
The Jews have stepped on my toes, put my back to the walls, put my back towards the war

I was told a million times to give respect to the blacks
Why do they find it is hard to give respect when I received none
It is my hate and my anger that I shall always follow, for it shall never break
Not my will, but as you can see, they have already tried that before!
These Jews are so fake….

Being older and wiser in their own right was their mistake
I have to kill them my own way, for it was their choice to make
My hate is real, in touch with my anger, and I know my ways
They have shown both sides of their faggot faces

I see the word in a new light
Things were never wrong or right
All those years and still, to this day
My hateful eyes only see shades of hate

I always try to tell them to do the right from wrong
Maybe that’s why they don’t belong
Christians have always put me down for all that I have done
They still cannot see that it is a war that they can never be won
A war that can’t be won
Another Jewish war that can’t be won

Having lived in their words has made everything so clear and concise
They shut out reality, it makes my life so nice
Why paint a pretty picture of black and white each day?
I see my tattooed body bleeding only shades of hate