Once Aryan Skynet Goes Live It Doesn't Matter Who Pulled The Switch
The golden period for the American novelty pop song coincided with rock ‘n’ roll’s childhood during the fifties and early sixties. Bobby “Boris” Pickett’s “Monster Mash” is the most beloved of the many horror-themed songs to emerge from this period, but was hardly the first, as such recommendable CD compilations as Ace’s These Ghoulish Things and Buffalo Bop’s Horror Hop and Monster Bop will attest. Far from being merely quaint relics of a more innocent time in America’s life, however, these songs haunt the attentive listener with prescient revelations of western decline, conspiracy, demographic rot, and other oddness.
“The Monster” – Bobby Please and the Pleasers (1959)
In this song, an effeminate leftist social engineer is confronted by the rampaging freak of his own misguided creation. “No! No! Frankenstein!” he exclaims before the monster seizes him by the collar. “Why did I give him the strength of ten men?” whimpers the weasel. “Is this the price I must pay for my sin?” he wonders aloud, the moral dimension of his actions suddenly taking on novel importance for him as he stands face to face with his own demise.
“Coolest Little Monster” – John Zacherley (1960)
TV horror host John Zacherley delivers a threatening Halloween valentine of sorts to organized Jewry, holding them culpable for the radicalization of malcontented congoids. “’Cause you’re the coolest little monster that ever put the spook on me,” Zacherley explains, promising in return to give to the hostile elite an assortment of sarcastic presents including “your own noose for home use.”
“Spooksville” – The Nu-Trends (1963)
A candid portrait of ghetto life recorded on the eve of the Great Society, “Spooksville” tells of “a land of fright” populated by “people” with “no heads”. “Listen, my friend, this is the end,” confides the unknown vocalist of this mysterious Swan single, admonishing those who would welcome the diversification of their cities.
“Monster Mash” – Bobby “Boris” Pickett (1962)
Easily the most infamous of the rock ‘n’ roll horror-themed novelty records, Bobby “Boris” Pickett’s hit riffs on such popular dance crazes of the day as Dee Dee Sharp’s “Mashed Potato Time”, but also cryptically celebrates the ascendant Jew World Order with its sly references to “the master bedroom where the vampires feast” and “Igor on chains backed by his baying hounds” – the Shabbos goy establishment and their lapdog media. “Mash good!” Igor masochistically snarls. “The zombies,” Pickett notes, “were having fun” dancing to his “graveyard smash” – just as generations of suicidal whites have reveled in every dose of degenerate brainwashing poured into their judaically fog-bound skulls.
“My Son, the Vampire” – Allan Sherman (1964)
The title really says it all. Sherman, a brave anti-Zionist Jew in the tradition of Benjamin Freedman and Gilad Atzmon, spills the bloody beans about the parasitic apparatus in this haunting coffee house testimony. “My son, the vampire, he’ll make you a wreck. Every time he kisses you, there’ll be two holes in your neck,” Sherman reveals of the thirst-quenching proclivities of his kinsmen in the Rothschild Money Trust.
“Feast of the Mau Mau” – Screamin’ Jay Hawkins (1963)
A fascinating anthropological document detailing African life in America, “Feast of the Mau Mau” offers rare glimpses into the customs, cuisine, and rites of urban blacks, including their sex rituals and hygiene. “They dance and romance for ninety days,” Hawkins relates, adding, “It’s a test for the best for who stays.” How they occupy themselves during the other 275 days of the year is suggested by such pungent injunctions as, “Pull the skin off yo friend with a razor blade” and “Shake yo hip, bite yo lip, and shoot yo mother-in-law.”
Gorillas just want to be loved. Is that so wrong?