In connection with all the debate which took place recently at Renegade Broadcasting on the subject of the Jewish-dominated music industry I have decided to publish what is probably one of my oldest articles ever (never published before anywhere by the way). First of all I have to apologize for the (relative) length of it, and for some of the redundancies that might show up, but taking into account that when I first wrote this article I didn’t even know where I was going to publish it, I suppose apologies this time are unnecessary. Regardless I’m assuming there might be some Creedence Clearwater Revival fans among the Renegade readership, so I guess most of them will appreciate the effort anyway. The story which I’m presenting here has all the elements of any story concerning Jews and their shenanigans: Scamming the unsuspecting Goyim, dividing and conquering by getting brothers at loggerheads with each other, using “legal” means to steal from others (particularly from White people), Jewish-styled vendetta situations, etc, etc. So much so that -if one reads between the lines- he/she will realize that this is basically an archetypal story, though it is as real as it can be. It is sadly ironic that at present John Fogerty is married to a certain Julie Kramer. To make it even more ironic (but not so surprising) Fogerty was recently “recruited” by some Adam Levine to fulfill the role of The Voice adviser a couple of years ago or so. What can I add to that? Some White folks will never learn!
Going back to my days in Old Albion (it feels already like a lifetime ago) I read an article in a local weekly magazine, which left an imprint on me for some reason. It was an interview with John Fogerty, former leader of that American classic rock band known as Creedence Clearwater Revival. It was by the time he had just released his fifth solo album entitled Blue Moon Swamp.
By that time, being a young guy myself, I used to read anything that fell into my hands about old rock acts from the 1960s-70s and beyond, but reading this particular article was probably the first time I was exposed to the truth on what the music industry is really all about in its crudest form. I must admit that nowadays I could not care less about any type of ‘rock’n’roll star’ whatsoever (for a number of reasons which are neither here nor there – unless these “rock stars” are connected to Counter-cultural intelligence) even if some of these people meant something to me in my youth at some point. However, I think this particular story needs some attention even if it is only for the sake of “entertainment”. Most people here will be able to get to obvious conclusions -without much of an effort- when taking into account the ethnic backgrounds, character and personalities of the people involved in such a story.
For all the too-young-to-know folks out there who might be reading this article, Creedence Clearwater Revival was one of the most popular American rock bands from the late 1960s – early 1970s. So much so that after the Beatles’ split-up they became one of the biggest selling acts in the entire world (this side of Led Zeppelin of course) with songs like ‘Proud Mary’, ‘Suzie-Q’, ‘Fortunate Son’, ‘Who’ll Stop The Rain’, ‘Bad Moon Rising’, ‘Up Around The Bend’, ‘Down On The Corner’, ‘Green River’ and a long strain of other anthems which have been celebrated and featured predominantly in movies (especially portraying this particular period in history) and also many TV adverts. These songs have been played on the radio ad nauseam for decades (to the point of me ending up hating them) and have been covered by uncountable other artists ever since. CCR’s musical blend was a cross-over of Southern swampish boogie and simple old-time rock’n’roll with tinges of pop, more or less what we would consider ‘Americana’ sound these days. Even when trying to look back in retrospect their music sounds as timeless and fresh today as it did back in its heyday.
All this was accomplished by the genius of John Fogerty, who aside from being singer and lead guitarist for the band, was its main songwriter. His superb talent to craft catchy rock songs of the first calibre took the band to the stratosphere of popular stardom. But there was a sinister dark shadow hovering over this rock’n’roll star’s wet dream; Creedence Clearwater Revival (as many other artists before and after) had a Jewish manager… and what a (((leech))) of a Manager this one was.
Saul Zaentz (1921-2014) was an American film producer and former record company executive. Some of his most famous film productions include One Flew Over The Cuckoo’s Nest (1975), Amadeus (1984) and The English Patient (1996), among others. So we are talking here about a very high-profile Jew within the Hollywood milieu. Zaentz was born on February 28, 1921, to immigrant Jewish parents in Passaic, New Jersey. According to an IMDb Mini Biography by Gordon Whiting:
Saul Zaentz learned gambling as a youth in Passaic, New Jersey, playing a card game called briscola. Later, in his twenties, he earned a full-time living as a gambler. [sic]’
After serving in the US Military during WWII (whatever he was doing there is anyone’s guess) Zaentz started getting involved in the music industry. One of his most important assignments was being part of the jazz-oriented record label Fantasy Records as a salesman and manager. According to Zaentz’s wikipedia article:
In 1967 Zaentz and other partners purchased the label from founders Max and Sol Weiss. The partners signed roots-rock group Creedence Clearwater Revival (CCR), fronted by former Fantasy warehouseman John Fogerty.’
Soon after signing for Fantasy Records, Creedence released their eponymous album which featured their classic ‘Suzie-Q’. According to a John Fogerty’s interview by Ross Fortune in 1997 (the one mentioned at the beginning of the article):
… At our record label, Fantasy, we were treated like a doormat. Jazz was more important to them, we were just some schmucks that made rock’n’roll… but we were selling 99 point something per cent of their records, and we’re talking about hundreds of millions of dollars, so it really made me angry.’
On top of that the band’s contract with the label, which Fogerty himself was held to when the band split-up, was something more than just “surrealistic” to put it bluntly. In Fogerty’s own words taken from the same interview:
I owed them 36 new masters for each year. In other words, three albums a year if you put 12 tracks on an album – which most people didn’t – and any of the quotas that weren’t fulfilled in any calendar year slid over into the next year. In 1969, our most prolific year, we put out three albums, but even that wasn’t 36 masters…’
By 1972, at the time of Fogerty’s first solo release Blue Ridge Rangers he claims to have owed them (Fantasy Records) more than a dozen albums.
It was undo-able, it was just unthinkable. I started out with all good intentions, took a few steps and realised, man, this is too heavy for me to carry…’
What came after that was what The Guardian (online) described in an article a few years ago as “The Saddest Story In Rock”. As a consequence of all these tribulations our friend John Fogerty became practically a recluse for many years, a complete broken man involved in a never-ending feud of epic proportions with his former Jewish manager Saul Zaentz,who was now in total control of Fantasy Records.http://www.renegadetribune.com/wp-content/uploads/2018/06/CCR-with-Zaentz-center-circa-1969-300x223.jpg 300w, http://www.renegadetribune.com/wp-content/uploads/2018/06/CCR-with-... 600w" sizes="(max-width: 618px) 100vw, 618px" width="618" height="459" />
All the money that Fantasy had paid us – our life savings basically – was put into a financial plan that we were steered into, and there came a time when I wanted to leave the plan because it was looking shadier and shadier to me. It was looking unethical and immoral, but it was also starting to look illegal, and I was told by my accountant, ‘You’ll end up having to pay 140 per cent in taxes’ – in other words, 40 per cent more than I earned or had! So I finally said, ‘You’ve got to get me out of this and retrieve my money.’ … Well, as soon as that message was sent to the bank – Boom! Bomp! … The whole thing folded and disappeared, and we lost all our money.’
As a consequence Fogerty sued a variety of lawyers and accountants, this time successfully, since the band was able to recover part of the money… through an insurance company, who stole all that money and kept it for themselves.
Problems for John Fogerty were far from being over; he spent an entire decade stifling in a legal miasma in which he was struggling to get out from. Later on, in the 1980s, in order to liberate himself from the clutches of Fantasy Records he was forced to give up all subsequent royalties which could be related to any sales involving any Creedence Clearwater Revival’s material. In Fogerty’s words ‘I traded my past for my future’.
In spite of having spent all his money in taxes and legal fees John Fogerty continued with his solo career the best way he could. By this time (1985) he released his long awaited comeback entitled Centerfield in which he purposefully took a couple of swipes at Zaentz in a couple of songs, ‘Mr.Greed’ and ‘Zanz Kant Danz’, the latter promoted with a video featuring a dancing pig who turns out to be a pickpocket.
Since it is pretty well known that the last thing in the world you can do to The Devil (or should I say ‘Jewish Devil’) is to make fun of him, the subsequent litigation came as no surprise, except apparently for John Fogerty himself who not-so-unwittingly declared ‘all I did was write a song about a pig’, and -boy oh boy- was he right about that; One of Zaentz attorneys claimed that the song “defamed his client, holding him up to contempt, scorn and ridicule”. Unfortunately Fogerty finally yielded and there was some sort of out-of-court agreement to change the name to ‘Vanz’ in future releases of the album.
But -of course- the whole thing did not end there. What follows next was probably one of the most preposterous acts of nonsensical Jewish vendetta ever seen in the history of popular music: Saul Zaentz accused Fogerty of having “stolen” one of his own songs ‘Run Through The Jungle’, which Fogerty composed and recorded with Creedence, but Zaentz owned the rights of. The “copycat” song was supposed to be one of Fogerty’s newest tracks in the Centerfield album entitled ‘The Old Man Down The Road’. In other words, Zaentz was suing Fogerty for having “plagiarized himself”, nothing more, nothing less. Fogerty in his own words again:
I won the case… The Jury voted that I didn’t steal my own song, but the judge didn’t award me the legal fees. I won, but it cost me $1,500,000 to prove that I was right!’
By the time this 1997 interview took place Fogerty had neither legal nor financial claim on any of the Creedence songs he had written and performed during the band’s period. He was even let down by his own ex-bandmates at some point when they decided to sell their rights back to Zaentz in 1989, just when Fogerty had managed to regain some minimal artistic control of his own music for future Creedence Clearwater Revival’s releases.
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They didn’t even care about their own music… They don’t honour it, they don’t want to preserve it. It wasn’t even enough money to matter; it was a paltry amount… it was like a dagger through the heart.’
But the tragedy continued afterwards, as the aforementioned article by The Guardian in 2000 stated:
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In 1990, his brother Tom died from respiratory failure following a long struggle with tuberculosis. The five Fogerty boys had been brought up by their single mother in California, and Tom had been Creedence’s rhythm guitarist, but not even their family bond could survive John’s feelings of betrayal. “Tom ended up over the years evolving mentally into some sort of weird Patti Hearst syndrome,” said John. “That’s what I call it when they kidnap you and you end up siding with your captors, and that’s what Tom did. In some trick of mental agility, he ended up befriending Saul Zaentz against me. By the end of his life Tom was saying ‘Saul is my best friend’. He even wrote me nasty letters saying things like ‘Saul and I will win’. It was very unresolved and very sad.”
Finally, to everybody’s relief, Saul Zaentz died at his home in San Francisco at the age of 92, after a long battle with Alzheimer’s disease, on January 3, 2014. Fogerty, in spite of not disclosing a word on the recent news, did not make any bones about his resentment toward his long time enemy even after all these years (who could blame him anyway). His public response after hearing the news was just to tweet his old 1985’s video ‘Vanz Kant Danz’ (b.k.a. ‘Zanz Kant Danz’), the song he wrote about the dancing pickpocket-pig. That understandable gesture, as far as Fogerty was concerned (I guess), was enough to finally put the last nail on Zaentz’ coffin.
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