(Jewish Telegraphic Agency) During a sycophantic speech inducting Allen Grubman — the most powerful and wealthy Jew in the music industry — into the Rock And Roll Hall Of Fame, rocker John Mellencamp advised his fellow musicians how important it was not to bite the kosher hand that enriches the few of them who manage to become stars:
As Kanye West extended his antisemitic spree by tweeting about Jewish agents in Hollywood, the rocker John Mellencamp took the stage at the Rock and Roll Hall of Fame and said this about his longtime lawyer: “Allen is Jewish.”
The line began an impassioned speech about the importance of non-Jews standing up for Jewish people at a time of antisemitism and anxiety for many of them, especially as white supremacists have taken up West’s comments as a rallying cry.
Mellencamp was speaking on behalf of Allen Grubman, a prominent music industry attorney who was being inducted because of his efforts to strike agreements that let artists retain creative rights over their work. Onstage Saturday night at the Microsoft Theater in Los Angeles, Mellencamp embraced his longtime friend and called him a “true mensch.”
“Allen is Jewish, and I bring that up for one reason: I’m a gentile, and my life has been enriched by countless Jewish people,” said Mellencamp, whose songs “Jack & Diane,” “Little Pink Houses” and “Hurts So Good” were hits in the 1980s.
“I cannot tell you how f—ing important it is to speak out if you’re an artist against antisemitism,” Mellencamp went on. “I don’t give a f—, I don’t care [about people’s identity]. Here’s the trick: Silence is complicity. I’m standing here tonight loudly and proudly with Allen, his family and all of my Jewish friends and all of the Jewish people of the world.”
Grubman is among a cohort of Jewish attorneys and executives who sit at the top tiers of the entertainment industry. He has represented Madonna, Elton John, Bruce Springsteen and Billy Joel, who sued him in 1992 for not disclosing that he was working for both Joel and his record label. (Joel dropped the lawsuit after the label paid him $3 million.) Newsweek called Grubman “perhaps the music industry’s wealthiest and most powerful attorney” in 2001, and a 1998 Los Angeles Times profile said he had “octopus-like grip on the upper echelon of the pop music world.”
Born and raised in Brooklyn and now in his 80’s, Grubman said last week that he was proud of what he had accomplished in the music industry, peppering in the Yiddish that he has used throughout his career. (“Life is 80% mazel and 20% brains,” he told the Los Angeles Times in 1998, using the Yiddish word for luck.)
“I tried to move the leverage from the labels to the artists,” he told Variety. “And I feel I was pretty successful doing so, which took chutzpah.”
It was not the first time that Mellencamp had publicly taken a stand to support Jews: Early in his career, he used the stage name John Cougar at the encouragement of his manager. “His whole explanation to me was that Mellencamp was first of all a German name, and he was Jewish,” the singer told GQ earlier this year. “And I kinda understood that point.”
So Mellencamp’s Jewish manager basically told him that his German last name would offend Jews in the record industry so he’d better change it — and wanting to do whatever it took to please his moneymasters, Mellencamp changed his name to “John Cougar”.
Which is all very ironic considering aspiring Jewish actors all changed their names to hide their Jewish identity from the American public, not from Hollywood managers who were all Jews.
Grubman claims that “80%” of his success was “mazel” or luck — not his “superior” Jewish intelligence — but it wasn’t luck that 90% of important attorneys in the music industry — on both sides of the aisle — were Jews like himself.
The article fails to mention that the avaricious record companies that basically enslaved aspiring musicians who were desperate to become stars have always been largely owned and controlled by Jews.
Jewish music producers would make musicians like Billy Joel, Hall and Oates, and John Fogarty sign away all their rights to their own music just for the opportunity to make records — and thus becoming debt slaves to these Jews for the rest of their lives.
What Allen Grubman did was wrestle all this power and wealth from his fellow Jewish record executives to himself and other Jewish attorneys who now represented “the artists” — at the end of the day, Jews still control the artists under the guise of freedom.
Grubman’s secret to success was to apply the strategy of Jewish personal injury attorneys — not billing by the hour but taking a handsome percentage of the settlement — these successful musicians were often broke but potentially were worth a fortune if Grubman could “reason” with his fellow Jews who represented the record companies.
And that’s exactly what Grubman did — not suing in court, but rather “negotiating” over lunch at Canter’s or Langer’s delis in West Hollywood.
So instead of the record companies getting a huge slice of the artists’ earnings, Grubman took a slice of that huge slice while transferring a smaller slice back to the artists who were grateful to get anything.
And that’s why when Kanye West broke out of this Jewish “octopus-like grip” of the record industry and called out Jewish power — just as both Ice Cube and U.K. rapper Wiley had done a couple of years ago — they sent seismic waves throughout this small, closely-knit kosher world.
Grubman and his fellow cabal of parasitic Jews at the top of the pyramid cannot protect themself from the backlash without the help of their indebted shabbos goy like Mellencamp who will attempt to shame his fellow wealthy musicians to come to the defense of their former exploiters.
In fact, a couple of years ago, over 700 musicians and industry workers signed a pledge promising not to criticize the Jews they all work for.
And all those hypocritical white musicians who give lip service to their debt to Black music now show their true colors — by revealing to whom they are truly indebted.