Where have all the ladies gone? We have nothing today but crude reminders of what ladies once were.
Not only has family life, workplaces, academia, organized religion and government been diminished, alongside the self-inflicted degradation of women during the last forty-five years of feminism’s reign, but they’ve taken the innocence of pop culture down with them too.
Women, both young and old, have been the “inspiration” behind the growth, and influence, of pop culture. Without female involvement, it wouldn’t exist. Women are pop culture, with their benevolence, rap music routinely places it at the top of the Billboard charts, despite rap music’s vile portrayal of women.
Without the “liberation” of women’s behavior, under the influence of radical, second and third-wave feminism, the rapid decline of respect for women, within the world of pop culture, would not have been possible.
The women themselves have lowered their standards of respectable behavior, not only for themselves but for the men in their lives. And, the outcome has been to treat them accordingly.
The culmination of this psychotic feminist brainwashing, as defined by the “empowerment” of explicit sexuality, is vividly expressed with the dramatic increase in the number of “liberated” young women who now routinely take part in recreational drugs, abortion, alcohol abuse, foul language, drunkenness, promiscuity, divorce, child abuse, thievery, illegitimacy and adultery over the last 50 years of feminism’s reign.
These types of evil behavior, displayed primarily by women, were UNHEARD of before radical, second-wave feminism reared its ugly head in the late 1960s and early 1970s.
Pop culture has reflected this situation in a very peculiar way. Not only are these “liberated” women obsessed with their own sexuality but, they have become engrossed with the sex lives of total strangers as well, including movie stars, music idols and TV personalities.
You would think, listening to this current crop of “fans” animated reactions to these “celebrities” lives, that they knew them personally! These wacky “fans” get physically worked-up when discussing these performers dysfunctional, on and off-screen personas, yet they fail to see the damage they are doing to themselves, and the culture, by enthusiastically imitating and “supporting” these deviant creatures, with their money, their time and their emotions.
The “success” of rap music (and this despite its deliberate promotion of the rape, murder, drug abuse and the general mistreatment of women) is a glaring example of this twisted phenomenon. And guess who strongly supports this debauched industry? Correct. The sexually “liberated” women who, buy it, listen to it, perform it, live it, sell it, produce it and generally approve of it.
How did so many young women land in this dreadful, pop culture gutter?
It’s hard to imagine the reason, especially when you consider the innocence of pop culture’s origins. Unless, of course, you take into consideration the generally damaging societal changes, including fatherlessness, associated with the rise of the twisted ideology of radical, second and third-wave feminism.
It’s no coincidence that pop culture devolved, as radical feminism’s emphasis on explicit sexuality rose. This was a direct result of anti-Christian, radical, second-wave feminism’s promulgation of their “Sexual Revolution” during the 1960s.
In retrospect, “Popular Culture”, did indeed, start very innocently in the 1950s with the development of “back beat” music with “rockability”, by Bill Haley and the Comets, Chuck Berry, and Elvis Presley.
What would eventually become known as “rock n’ roll” is generally believed to be a combination of country music and rhythm & blues. Sounds pretty harmless.
The movie, magazine, and TV industries soon joined the music industry in this youthful movement. And although, the shortened term, pop culture, was not widely used until the 1990s, it all began more than sixty years ago.
Today’s pop culture not only includes the music, television and movie industries, but also includes elements of the internet, especially social media. And, to a larger extent it includes the video game industry as well. But, ultimately, the music industry must take the credit, or the blame, for pop culture’s origins.
In the 1950s, Elvis Presley’s, on-stage “gyrations”, infuriated most parents and many of rock n’ roll’s music lyrics were equally berated as they were construed to have sexual overtones as well.
Parents were outraged over the bad influence they felt rock n’ roll was having on their children’s behavior and lives. Ironically, when compared to today’s rap music, the rock n’ roll music of the 1950s seems exceedingly tame.
And today, just as those parents had feared, their worse nightmare has come to fruition as the white, rapper Eminen struts his stuff and girls scream and tear off their clothes!
Rock n’ roll appealed to a new breed of kids, recently titled “teenagers”, and especially young females teenagers.
For the first time in American history, young girls screamed, and swayed to the music in public auditoriums, routinely losing their voices and fainting, while watching Elvis perform.
With Elvis, “idol worship” took on a new twist. The rock musician replaced the “golden idol” of antiquity and this new concept of idol worship has persisted to this very day.
Unfortunately, Elvis would prove to be the high watermark for the rock n’ roll industry, especially as it relates to women. Mainly because it has continued to devolve along with the “liberated” behavior of female baby boomers under the influence of radical feminism.
Over the last 60 years, we’ve watched Love Me Tender (1956) Elvis morph into the P. S. I Love You (1962) Beatles, that morphed into Barbara Ann (1965) Beach Boys, that morphed into the (I Can’t Get No) Satisfaction (1965) Rolling Stones, that morphed into Babe I’m Gonna Leave You (1969) Led Zeppelin, that morphed into Nothing Else Matters (1991) Metallica, that morphed into Estranged (1991) Guns and Roses, that morphed into Moist Vagina (1993) Nirvana.
The degeneration of black rock n’ roll groups has been even more dramatic. The gentleman of the My Girl (1965) Temptations, who morphed into I’ll Be There (1970) The Jackson Five, who morphed into Part Time Lover (1984) Stevie Wonder, who morphed into (1990) U Can’t Touch This MC Hammer, who morphed into Boom! Shake the Room (1993) DJ Jazzy & the Fresh Prince, who morphed into Money, Cash, Hoes (1998) Jay-Z, who morphed into Nasty Girl (2006) Notorious Big.
But the ultimate deviant in this descent into the music hell of fiends is Eminem. He is the quintessential example of how low the music industry has sunk. He’s absorbed the very lowest forms of debauchery, from both the black and white worlds of “music entertainment”, and become a demonic “creature” devoid of his own humanity.
In their wildest dreams, the parents of the 1950s could never have imagined a beast like Eminem. And for this, we can thank the non-Christian, “composers”, and brothers, Jeff and Mark Bass.
These two reprobates created a Frankenstein of their very own! They gave absolutely NO consideration to the young “fans” whose lives would be profoundly twisted by Eminem’s “music”, and EVERY consideration for the fortune they would make debauching young, impressionable kids.
Unlike Elvis’ music, which was full of love and admiration for women, Eminen’s “music” is full of hatred and violence towards women.
Once again, one performer reflects the protective nature of Christianity towards women while the other performer reflects the destructive nature of the sexual “liberation” of women, as espoused by non-Christian, radical second and third-wave feminism.
And, the music of both Elvis and Eminem reflect the quality of the women they knew. Elvis’s generation of women were products of a culture derived from respectful Christianity, while 60 years later, Eminem’s generation of women are the products of the “empowerment” of women through explicit sexuality espoused by anti-Christian, radical, third-wave feminism.
During the sixty intervening years between Elvis and Eminem, the music industry’s relationship with women, just as with the remainder of the culture, has reversed itself.
Today, young feminists have “liberated” themselves to the point of cultural revulsion. And sadly, especially for the next generation of young innocent women, there appears to be no end in sight to the sexual abuse they will suffer at the behest pop culture, and especially at the hands the “music” industry.
It’s the Women, Not the Men! to be continued…