458- Social Engineering Disguised as Music – How Low Can We Go? (Free)

Most of the significant events in our time can be traced back to very specific archetypes. These archetypes have existed as far back as we can see and seem to come into view via Greek Myth. The significant event we call Rock-n-Roll began in the 1950s and gained momentum in the 60s. In this episode we will show that the soundtrack of our lives was launched and engineered using the Dionysian/Bacchanalian architype, which is based in hedonism and animalistic tendencies, inherent in human beings. One might note that the Satyr and Centaur are related characters for this archetype and represent the half animal half human idea. Hedonism, of course, pushes toward base (bass = low frequency) animalistic abandon. The effects of popular music in our time are staggering, and in the 60 years that have passed since the Beatles (dung beetle), the engineering of music has increased. The constant lowering of vibration and intention has now brought us Rap music with its aggressive attitude, low subwoofer delivery, and absence of musical elements found in pre-Rock-n-Roll eras, when music was of a much higher-minded reality. Slowly what passes for music has reached new lows via social engineering and the iron fisted control of the modern media machine. The following quote is the voice of a musical genius who may well have played a key role during the onset of Rock-n-Roll. “Popular music could be solely characterized by ‘standardization’.” In his famous paper ‘On Popular Music’, Theodore W. Adorno wanted to emphasize the dull nature of the verse-bridge-chorus structure of songs. This meant that nothing novel could be produced from popular music. Who was Theodore W. Adorno? It is likely he was the man who wrote the music for the Tavistock creation we know as the Beatles. It cannot be overstated how successful the social engineering implemented in the early 1960s was, nor its devastating effects on world-wide culture, the family unit and how it normalized drug culture for generations to follow. In closing, consider the following musical facts from a higher-minded era. A chamber orchestra is small with around fifty or fewer musicians, while a symphony or philharmonic orchestra could have more than 100. Simply assessed: Complexity and diversity are the enemy of control and manipulation. Unfortunately, in knowing this it does not erase the fact that Led Zeppelin (among others) is the soundtrack of my youth, and that nostalgia seems to never diminish. In the days of my youth…