Nixon called it “temporary.” 55 years later it’s still policy. Will Wertz reads the paper trail — the secret Kissinger memo, the Volcker Group, Britain’s run on Fort Knox — and the principles of the new Bretton Woods Trump’s Treasury says is underway.
Bessent forecasts the Strait of Hormuz will be “irrelevant” within two years — and at Chatham House, Lebanon’s adviser named Kissinger as the author of 50 years of war. Susan connects the sanctions, the pipelines, and the Board of Peace replacing the old imperial game.
Barbara has the story behind the arrest. Susan has the Detroit numbers nobody in the media will touch. Plus her journey from RFK to Trump — and a straight answer to a 69-year-old who asked why he should still believe.
The globalists didn't just attack our economy and sovereignty — they waged a centuries-long war on our culture. Toni Sellars and Mindy Pechenuk trace the battle for classical music from Brahms to the boardrooms of Wall Street.
Every week, Promethean Action holds a Saturday Class—a deep dive into the ideas, history, and strategic thinking that the mainstream won't touch.
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Because the destruction of classical music in America wasn't an accident — it was a project. And understanding that project is essential to reversing it.
In this week's class — the second in a series on classical music — Toni Sellars walks through the science of the human singing voice and the principles of Bel Canto, showing how the natural registers of the voice are the foundation of all great music. Every human being who can talk can learn to sing — and that capacity is itself a political statement about what it means to be human.
Mindy Pechenuk then takes viewers on a sweeping journey through the 19th and 20th century battle over music's soul — and America's.
On one side: Johannes Brahms, who steeped himself in Bach every morning, championed the nation-state, and sent his protégé Dvořák to America to compose the New World Symphony.
On the other: Richard Wagner and Franz Liszt — tools of the European oligarchy who promoted dissonance for its own sake, escapist fantasy, and sense-worship over reason. Wagner was literally a participant in the violent anarchist uprisings of 1848. Liszt wrote eulogies to Napoleon III.
The story doesn't end in Europe. Mindy traces how Liszt's networks — through the Damrosch family — planted themselves in New York and laid the groundwork for the "New American Music" project: a Wall Street– and British-financed operation, run through the Fontainebleau Conservatory in France, designed to strip classical principles from American musical training.
The Rockefellers, Vanderbilts, Fricks, and Astors bankrolled it. Nadia Boulanger ran it. Nearly every prominent 20th-century American composer came through her salon.
The result? Generations of Americans cut off from the music that builds beautiful souls — and children today who can't even read the words in a choral score.
But Mindy ends on a note of profound optimism. President Trump has brought beauty back to the White House — from classical performances at the Governor's Dinner to his executive order restoring beautiful architecture. Melania Trump, in her opening address as president of the UN Security Council, declared that a nation which makes learning sacred protects its future.
The cultural renaissance isn't a side project. It's the heart of what we're fighting for.
Watch the class and hear the music for yourself.
—Promethean Action Editorial Staff
Nixon called it “temporary.” 55 years later it’s still policy. Will Wertz reads the paper trail — the secret Kissinger memo, the Volcker Group, Britain’s run on Fort Knox — and the principles of the new Bretton Woods Trump’s Treasury says is underway.
In 1775, Americans and Quebec militiamen fought as brothers to free Canada from the British crown. Bob Ingraham on the lie of the "invasion," Franklin's near-miss at the peace table — and why, 250 years later, the question is open again.
Four new nuclear reactors went critical in a single month — America's first in 40 years. Brian Lantz on the factory boom the media won't name, and the apprenticeship programs that pay you to help build it. The hardest problem was never the physics.
A full-size statue of Beethoven once stood behind the Boston Symphony. Toni Sellars and Mindy Pechenuk on how deep this music ran in 19th-century America — and who spent the next century getting it out.
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