DITCHLEY FOUNDATION
Where rave culture meets the Anglo-American Empire. This is what KKR's club and festival deals actually ladder up to.
A few weeks ago I was extremely surprised and troubled to see the new CEO of Superstruct, Alex Mahon (on the left of this picture), being interviewed by the Director of the Ditchley Foundation, James Arroyo, about the role of music festivals in shaping public discourse.
You can watch the full interview here, where the first 15 minutes or so is focused on music festivals.
I found the conversation troubling for two reasons.
Firstly, because Mahon sits on top of an extraordnarily powerful collection of cultural assets, all of which are now owned by private equity in a direct affront to the grassroots of rave culture.
Secondly, because the Ditchley Foundation is a hub of military, intelligence and political actors who have been at the forefront of Anglo-American imperlialism for the past 70 years.
These things should not be mixing together and Mahon’s decision to give this interview in the very first months of her new role tells you everything you need to know about Superstruct and the state of the modern music industry: i.e. it has been weaponised by the global ruling class.
I’ll start by giving you a brief overview of Superstruct and its role in the centre of the corporate takeover of European music culture, followed by an introduction to the Ditchley Foundation and some of its key people and activities.
SUPERSTRUCT AND KKR
Anyone paying even the most casual attention to club culture over the past few years will be familiar with the controversy surrounding Superstruct; the huge festival operator, now wholly owned by private equity pioneers Kohlberg, Kravis and Roberts (KKR), which has been steadily hoovering up many of your favourite festivals and music brands into its soulless global investment portfolio.
Snowbombing, Hideout, Elrow, Awakenings, DGTL, Lost Village, Sonar, Field Day, Boiler Room and many others are now fully embedded into the beast system and steadily generating corporate profits for KKR alongside its investments in Israeli weapons manufacturers and companies promoting illegal settlements in the West Bank.
So much for Peace, Love Unity and Respect.
Thankfully we’ve seen consistent and escalating push back from the music-loving public, and Sonar festival was notably hit by over 70 artists boycotting last year’s event in protest at the KKR link up.
But this has really only scratched the surface of the problem.
And you won’t fail to have noticed that none of the protests have changed anything whatsoever about what’s happening on the ground in Gaza.
Mainly because people don’t really understand what these investments are actually for.
Let’s be clear, KKR isn’t trying to make a few quid selling you overpriced water. It’s actually engaged in full scale psychological operations against European populations so the imperial war machine from which it so handsomely profits can keep grinding on towards its ultimate goal.
How do festivals help progress this agenda?
In at least three ways I can think of:
Bread and Circuses
By keeping the peasants (you and me) fed and entertained the global establishment, of which KKR is an important part, are able to keep us distracted, complacent and unquestioning of its wider policies.
Divide and Rule
The music industry has been at the forefront of pushing woke neo-Marxist political ideas that have been custom designed to split Western societies into warring factions more interested in fighting each other than uniting to tear down the corrupt establishment that is actually persecuting all of us.
The massive and ongoing controversy over the supposed racial roots of techno music is just one example of how this plays out in practice.
Yes, the billionaires fund Communism when its useful for them to do so. But more on that another time…
Mind Control
Military intelligence agencies have invested $trillions over the past 80 years in carrying out psychological operations against their own citizens. The CIA’s MK Ultra programme, as just one example, is well-documented and the lessons learnt are still being applied to this day.
Large scale public events, especially those where attendees are intoxicated and being exposed to high levels of sonic and visual stimulation, are extremely fertile ground for those seeking to plant new ideas into public consciousness.
They literally want to control what we see, hear and think on pretty much any major issue. Festivals are a perfect place to make this happen.
All of which might explain why the Ditchley Foundaton were so keen to speak with Alex Mahon at the start of this year.
DITCHLEY FOUNDATION
Ditchley was established in 1958 as a way to promote international relations between the USA and Great Britain.
It sits at the core of the Anglo-American partnership that has dominated global affairs since the end of the Second World War.
The Foundation is based at Ditchley Park in Oxfordshire, an extraordinary country house first built in 1720.
The Foundation’s Governors include some of the most prominent figures in British and international affairs from the past several decades, including:
Lord Cameron of Chipping Norton, aka David Cameron. The former British Prime Minister and ultra-Zionist change agent.
Bill Emmott, former Editor of the Rothschild-owned Economist and former Chair of the International Institute of Strategic Studies (IISS), one of the key global think tanks of the military industrial complex.
Dominic Grieve, former Tory MP and former Chair of the House of Commons Intelligence and Security Committee, which oversees MI5, MI6 and GCHQ.
Sir John Major, fomer british Prime Minister and former European President of the Carlyle Group (the largest financial beneficiary of the Iraq War, alongside Halliburton).
Sir John Sawers, former Chief of MI6 (2009-14)
Lord Robertson, former Secretary General of NATO.
I could go on at length, but I’m sure you get the picture: Top level political, military and intelligence operators, including some of the biggest bastards in recent British history, are cosying up to the Chief Executive of the largest festival operator in Western Europe in order to get her thoughts on how to exert influence over young people and inject their ideas directly into public discourse.
Why else would James Arroyo be so keen to talk with Alex Mahon about the “role of festivals in bringing societies together”, the need to “establish shared experience” and to “create a space for discourse, discussion and debate”?
Absolutely nothing good can come of this, and the sooner artists and ravers wake up to how completely rave culture has been stolen and weaponised by the ruling class and fully boycott the entire Superstruct portfolio, the better.
Oh, and this one is still hyper relevant:
Peace and love.
Rubin