Musical drug

2024 Author: Seth Attwood | [email protected]. Last modified: 2023-12-16 15:55

Contemporary music has, in most cases, been completely deliberately designed to transform people into controllable crowds. Its origins are ancient occult knowledge and Western scientific research institutions, conducting a cannibalistic experiment of world domination over humanity.

To begin with, this "music" is not modern. Its rhythmic basis - "beat" - is taken from the temple practice of the Middle East and pagan Hellas - from the cults of Baal Hammon and Dionysus, and the harmonic structure - from the mysticism of the Rosicrucians. This knowledge received a modern interpretation in the books "The Philosophy of New Music" and "Dissonances. Music in a Controlled World", written in the 1940s by Theodor Wiesengrund, who fled from Germany to England in 1934 and is better known under his second surname Adorno.

Adorno, Wiesengrund-Adorno Theodor [Wiesengrund-Adorno] (1903-1969) - German philosopher, representative of the Frankfurt school, culturologist, sociologist of art. Studied at the University of Vienna; studied musical composition with the composer A. Berg, a student of A. Schoenberg. From 1931, Adorno taught at the University of Frankfurt (where he returned in 1949), in 1934 he was forced to emigrate to Great Britain, and from 1938 he worked in the USA. The central content of Adorno's activity was a philosophical penetration into the essence of musical works. An example of his legacy is the book "The Authoritarian Personality", in which he calls strong white families deviations from the norm, and the norm proclaims those in which children run from home, in conflict with their parents, are alienated, etc. This book has become a classic of post-war sociology and the basis of university courses to this day.

The musical theory of the Rosicrucians was based on rather original ideas. They believed that the Light of the Divine, emanating from the Black - True Sun, hidden under the solar corona, is reflected (partly in a mirror image, partly - with a phase shift) from the center of the Earth, in which the "throne of Lucifer" is located. Passing "from Heaven to Earth", the Light acquires a 7-fold structure (according to the number of "celestial spheres"), and returning reflected - 12-fold (the original 7 + arising due to displacement 5). Hence there are two different note systems: 7-ary - "tonal", "Orphic" or "white", and 12-ary - "atonal", "Dionysian" or "black". (This idea is reflected in the piano design: 7 white and 5 black octave keys …)

Thus, Adorno actually did not come up with anything new: he simply took and applied at a new technical level the ancient knowledge preserved by secret societies, although he cannot be denied a certain talent. Former NSA employee, well-known conspiracy theorist J. Coleman testifies in his sensational book "The Committee of 300": "For the Beatles, Theo Adorno wrote all the cult" lyrics "and composed all the" music. " This, of course, will not delight the fans of the "greatest band in history", but it will explain why nothing like "Michelle", "Love can not be bought", "Yesterday", "Silver Hammer", etc., after the death of Adorno, the "four" did not create It was. And why the Beatles themselves, "by a strange coincidence," broke up a year after the death of their occult puppeteer.

So what did Adorno use his talent and occult knowledge for? In the history of mankind, his name, as it seems to the author, will rightfully take its place next to Madame Tofana and Hitler's "experimenters - for, according to Coleman (and there is no reason to believe), he is one of the inventors of the" musical drug ", which, without doubt is "modern" music.

How does the "music drug" work?

Everything in the world is number, measure and sign. This is not only the opinion of occultists, but also of science. All material bodies are subject to the laws of vibration and resonance, and these vibrations and resonances can be harmonious and destructive. This is what was discussed in the Musical Theory of the Rosicrucians. And it was precisely the destructive atonal system that was put by Adorno and a group of scientists who worked with him as the basis of "modern guitar music." Yes, yes, no matter how strange it may seem at first glance, the "rock culture", the "culture of youth protest" were not born by shaggy, foul-smelling hippans from the dirty outskirts of Liverpool, but prim bourgeois professors from the sleepy Sussex backwoods lurking among the elms of the Tavistock Institute human relations ".

Great importance in the "new music" is attached to a complex drum rhythm - "BITU", which has a strong effect on the centers of the brain responsible for concentration. The effect of the "bit" is comparable to that of "light" drugs - slight dizziness, suppression of consciousness, "dissolving" it in emotions and sensations.

The second striking factor is "BAS" - instruments and electronic synthesizers that produce low and ultra-low (up to 60 Hz) acoustic vibrations. "Bass" influences the cerebrospinal fluid and adrenaline-insulin balance, provoking inadequate aggressiveness and increased sensuality. The pogroms by rock fans are a direct consequence of the influence of the "bass". It is also associated with provoking suicide. Statistics show: "In the first half of the XX century. In the United States, mainly elderly people committed suicide. But since the 1960s, suicides began to get younger. From 1972 to 1987, the number of suicides among adolescents increased by 53%" (Lavrin A. "Chronicles Charon ", M., 1993). Is it a coincidence that this coincides in time with the heyday of "modern music" ?!

The third most powerful intoxicating factor is LIGHT. That is why any self-respecting "group" drags tens of tons of lighting equipment along with it on tour. Colored light, laser images and "shots" - everything is designed to enhance the effect of sound, and the stroboscope, for example, generally fell into the "music" straight from the office of a hypnologist.

Strong psychogenes include the SOUND OF PLATES imitating cymbals borrowed from Phoenician ecstatic dances. In "techno" music, their use has moved to a qualitatively new level, here they can even push the "bass" out of its second place.

All of the above allows us to assert: "new music" is a powerful psychogenic "drug", the action of which is based on acoustic and auditory effects on the human brain and endocrine glands; the result of this effect is a suppression of consciousness, similar to that which is achieved by "light" drugs.

At the same time, the similarity of the states caused by rock and "light" drugs (cannabits, etc.), permanently carried out by rock musicians (lyrics, clip images, personal example), the propaganda of drug addiction does not to a small extent help to remove the psychological barrier from the audience and to the actual " classic "drugs.

Why do they need all this?

There are three answers to this.

First, the rock industry is one of the most profitable "businesses". By trade, practically in the literal sense of "air" (more precisely, by its fluctuations), astronomical states are created at the moment. The fees of rock and pop "stars" are not a secret for anyone: they are hundreds of thousands and millions of dollars. How much do those who “light” these “stars” keep for themselves ?!

Secondly, "new music", as already mentioned, is the most powerful promoter of classical drugs. And this, again, is millions and billions of dollars. (Moreover, if someone thinks that these millions are scattered among a huge number of drug dealers, he is mistaken. The bulk of the drug money is tenaciously held by the group of tycoons listed in the specified book by Coleman).

Thirdly, one should not forget the SOCIAL function of "musical" drug addiction. It is not by chance that the phenomenon of "new music" coincided with the "stormy 60s", when the bourgeois democracies were bursting at the seams. In the total intoxication of young people, the "great initiates" serving the world plutocracy saw the only opportunity to sit on the necks of the enslaved peoples. The transfer of youth rebellion from the socio-political sphere to the sphere of shaggy hairstyles, dirty pants and smoking "weed" is their important victory over humanity and a step towards the establishment of a New World Order.

And, after the Beatles, other "Made in England" rock bands moved around the world, for which, according to Coleman, Adorno's employees and followers created new directions of rock music.

Deep Purple, Rolling Stones, Pink Floyd, Led Zeppelin, Dire Straits, Black Sabbath, Iron Maiden, Queen, Def Leppard, Nazareth, Genesis - can you imagine rock history without these BRITISH bands ?! Their format was not reached by any of the non-British, with the exception of the "satanic rock group" KISS "(Kids In Satan Service -" boys in the service of Satan "), consisting of former Russian Orthodox youths …" (Rose S. "St. Orthodoxy XX century. "Publishing house of the Donskoy Monastery, 1992), created in 1973, as they say, with the participation of Kissinger himself, and, possibly, named after him … world imitators, lies in the fact that the source of their "inspiration" is hidden behind the silent walls of the patriarchal ivy-covered silent walls of a modest research center, lost in the wilderness of Sussex?..

A drugged person is easier to manipulate … S. Rose noted a very important feature of the rock epidemic: an attempt to impose on us a constant presence "in the air" of rock music - in the form of "background music that is heard everywhere now - in department stores, institutions …", in the form of a mandatory "loads" to advertising, informational and other messages received by us from electronic media.

When someone lights a cigarette in a room where there are non-smokers, they are told to put out the cigarette. How nice it would be if people realized that the right to silence, to the absence of disgusting atonal harmonics of rock in the air is just as important as the right to clean air without nicotine fumes! But something stubbornly opposes this. Why?

The answer can be found in S. Kara-Murza's work "Manipulation of Consciousness" (Moscow, 1998):

… to prevent the possibility of the emergence of their own groups of the elite (intelligentsia) in the mass of the ruled, it must be deprived of silence. This is how a phenomenon called "noise democracy" arose in the West.

Such a sound and noise design of the surrounding space has been created that the average person practically does not have sufficient intervals of silence to think out a coherent thought to the end. He cannot concentrate - he has to grab hold of the interpretation given to him. This is an important condition for his defenselessness against the manipulation of consciousness. The elite, on the other hand, value silence and have the economic ability to organize their lives outside of a "noise democracy."

(And you personally, dear reader, are you often left alone with yourself? Do you have a receiver in your car? How often is it turned on?)

No, of course, I am far from thinking that rock can be "banned" or "eradicated". With all the desire, this cannot be done - there is a colossal social inertia, there is a truth that it is much easier to spoil something than to fix it. But there is a difference between drinking with friends on a fishing trip - and drinking for weeks without drying out. So it is with rock music. Yes, it's a drug. But it can also be used without causing irreparable harm to yourself, without becoming rock-addicted.

You just have to fight so that rock does not become a "background" of your life - it is then that it is much more dangerous than attending a rock concert or a stormy party with dances. And most importantly - you need to KNOW.