“Consensus programming is dangerous to your health. The brainwashed do not know they are brainwashed.” Plasmatics, Coup d’Etat album (1982)
by Jonas E. Alexis
BeyonceScottish writer and political thinker Andrew Fletcher once posited that “If a man were permitted to make all the ballads, he need not care who should make the laws of a nation.”
This observation has been supported by numerous studies, going all the way back to China before Christ.
For example, long before Plato ever sat down to write the Republic, which to Allan Bloom is “the book on education,” a Chinese emperor by the name of Shun would meticulously examine the type of music that his vast kingdom would produce precisely because, as Plato would later put it, “When the modes of music change, the fundamental laws of the state change with them.”
Shun changed the fundamental laws of his state by producing harmonious and orderly music, which in turn influenced the modes and thoughts of an entire nation, and which eventually created peaceful harmony for years.
Shun—in contrast to our modern philosophical premise of naturalism, which has been regurgitated in a superficially sophisticated way by Darwinian metaphysics—was certainly under the impression that man was more than matter and energy.
Shun seemed to have realized that music, in its metaphysical form, has a spiritual fluidity, is powerful, and can thus be used to influence listeners for good or bad. This was one reason why rock musicians and advertisers in the early part of the 70s and 80s harnessed that power and began to place subliminal and nihilistic messages in their music and product.
Some of this music simply makes no logical or harmonious sense whatsoever. Here are some examples:
The Church, from its very inception, indeed understood that music has a spiritual dimension precisely because it reflects Logos, which is the locus of everything orderly and rational. Right after its establishment in Europe and elsewhere, the Church began to produce some of the most powerful and transcendent music ever.
People like Handel, Bach, Haydn, Beethoven, Dvorak, were all working with the definition that music must be orderly and therefore must influence mankind for good and not for evil. Bach himself said, “The end of all music should be the glory of God, and the refreshment of the human spirit.”
In summary, music indeed has the power to transform both the culture and the political landscape in a dramatic way. Michael Morgan, citing the noted scholar and professor of communication George Gerbner, declares,
“The ‘ballads’ of a historical time and place ‘are those vivid, dramatic accounts and images which…provide common assumptions about man, life, and the world….The commercialization of culture, he argued, challenges the theory and practice of self-government.”
Jimi Hendrix would have understood exactly what Morgan was talking about. On the eve of the hippie movement, Hendrix declared,
“We’re making our music into electric church music—a new kind of Bible, not like in a hotel, but a Bible you carry in your hearts, one that will give you a physical feeling. We try to make our music so loose and hard-hitting so that it hits your soul hard enough to make it open. It’s like shock therapy or a can opener…”
Now you may want to hang onto something. USA Today, the New York Daily News, Business Insider and other news outlets published a stunning report a few days ago: the U.S. government wanted to destroy the Cuban government—not through guns and bullets but through rap music. Listen to this:
“In early 2009, a U.S. government contractor sent a Serbian music promoter to Cuba with these covert marching orders: Recruit one of Havana’s most notorious rappers to spark a youth movement against the government.
“In communist Cuba, it was a project that could have landed Rajko Bozic in jail. So when he made his pitch to team up with hip-hop artist Aldo Rodriguez, Bozic left out the part about his true intentions — or that he was working for the U.S. Agency for International Development.
“Dreadlocked, muscled and tattooed, Aldo, as he was known, was a hero in the hip-hop underground for lyrics protesting the Castro government’s grip on everyday life in songs like “El Rap Es Guerra,” or “Rap Is War,” words he tattooed on his forearm.
“He and his group, Los Aldeanos, were about to unknowingly get sucked into a tug-of-war between Havana and Washington, as thousands of pages of documents obtained by the Associated Press and dozens of interviews show…
“USAID’s secret Cuban hip-hop project sought to spread democracy, but like other U.S. operations on the island, it was executed by amateurs.
“Documents show USAID repeatedly put innocent Cubans and its own operatives in jeopardy despite warning signs. Authorities detained or interrogated musicians or USAID operatives at least six times, often confiscating their computers and thumb drives, which in some cases contained material linking them to USAID.
“Instead of sparking a democratic revolution, it compromised an authentic source of protest that had produced some of the hardest-hitting grassroots criticism since Fidel Castro took power in 1959, an AP investigation found.
“In a written statement, USAID said the programs were part of a four-year contract that ended in 2012, but denied they were clandestine…
“The hip-hop operation ran simultaneously with two other USAID programs exposed by the AP earlier this year — the launch of a secret “Cuban Twitter” and a program that sent Latin American youth to provoke dissent — and also involved elaborate subterfuge, including a front organization and an exotic financial scheme to mask American involvement.
“USAID targeted some of Cuba’s most prominent musicians, including two icons close to the revolutionary government — Silvio Rodriguez and Pablo Milanes — and even members of the Castro family.
“It all hinged on a strategy of subtle manipulation. Bozic, with his close-cropped black hair and wry smile, had been hired by Creative Associates International, a company with a multimillion-dollar contract from USAID. His goal: Commandeer the island’s hip-hop scene ‘to help Cuban youth break the information blockade’ and build ‘youth networks for social change,’ documents show.
“Creative’s contractors would recruit Aldo and scores of Cuban musicians for projects they disguised as cultural initiatives but really were aimed at boosting their visibility and stoking a movement of fans to challenge the government. The trick was to do that without getting arrested.
“The mission failed—not because rap music is not a form of control but because “it was ill-conceived, reckless and executed by amateurs.”
What we are seeing here is that the United States, as a Zionist regime, has come to the same conclusion that Plato, Aristotle, Lenin, and countless musicians and rock performers have reached: music can be used to subvert both the political and moral landscape of a nation. Philosopher Sissela Bok makes this crucial point:
“Iris Murdoch suggests, in The Fire and the Sun: Why Plato Banished the Artists, that because Plato viewed human life as a pilgrimage from the appearance to reality, and held that works of art constituted imitation capable of impeding this quest, they had to be strictly censored not least when they depict evil and cruelty.
“When artists imitate what is bad, they are adding to the sum of badness in the world, so that ‘images of wickedness and excess may lead even good people to indulge secretly through art feelings which they would be ashamed to entertain in real life.’”
It was Lenin himself who said that
“One quick way to destroy a society is through its music.”
“Music is the most powerful medium in the world because of the frequencies. You’re hitting places in people that remind them that they’re more than just [a] functional being…”
Jimi Hendrix, the man who has been crown as the electric sky guy, said it all:
“Music is a spiritual thing of its own…you hypnotize people to where they go right back to their natural state which is pure positive…and when you get people at their weakest point, you can preach into the subconscious what we want to say.”
If these observations are not enough, pay attention to Richard Pellegrino, a medical doctor and neuroscientist:
“Take it from a brain guy. In twenty-five years of working with the brain, I still cannot affect a person’s state of mind the way that one simple song can.”
The burning question again is this: Why are songs, music, and the arts so powerful? What makes them so potent that they can “affect a person’s state of mind”?
Practically all ancient philosophers—from the pre-Socratic time to the age of reason—were fascinated by music’s potent power to form character, to soothe the human spirit, and to even create revolution. Pythagoras and his followers for example believed that “the universe is a musical harmony.”
Those philosophers surely knew a great deal about music and recognized that it could be used for good as well as for evil, and that “any alteration in music was therefore to be carefully watched since it in turn affected the entire educational program of Greek youth.”
Pythagoras was so fascinated by the power behind musical energies that he devoted a certain part of his life to study the connection between music and mathematics.
Solon, a contemporary of Xenophanes, thought that “it was possible to foster morality and citizenship through music which in turn would strengthen the State.”
Such a statement is compatible with the ancient Chinese and Egyptian beliefs, which stated that “music had the power to uplift or degrade the psyche, to change the fate of entire civilizations.”
Those philosophers—unlike many observers today who seem to have little knowledge of music’s spiritual connection and sometimes supernatural power—took music so seriously that they even asserted that certain musical instruments “ought not to be admitted into education” because they are “too exciting.”
Plato, who devoted a large portion of The Republic to the instruction of music, and who skillfully compared some music “to that of a sorcery,” warned that
“the State Guardians must be well educated in music so that they could detect and discourage music with incongruous texts, or music that lent itself to obscene or inappropriate gestures, or music which tried to imitate sounds that were foreign to its nature.”
Certainly Ray Manzarek, keyboard player for The Doors, knew exactly what Plato meant:
“When the Siberian shaman gets ready to go into his trance, all the villagers get together…and play whatever instruments they have to send him off…It was the same way with The Doors when we played in concert…
“I think that our drug experience let us get into it…quicker…It was like Jim [Morrison] was an electric shaman and we were the electric shaman’s band, pounding away behind him…pounding and pounding, and little by little it would take him over…”
Indeed. If you pay close attention to some of Morrison’s performances on stage, they are closely similar to some of the shamanistic dances which can be found throughout “primitive” cultures around the world:
A shaman is a person “who can enter into a trance in order to commune with the spirit world,” writes Mickey Hart, drummer for The Grateful Dead. The shaman also can “obtain power from the supernatural through trances brought on by hypnotic music, chanting, and dancing.” Hart goes on to say:
“Shamans are drummers—they’re rhythmists, they’re trance masters who have understood something fundamental about the nature of the drum, something I badly wanted to learn.
“I noticed, as I began to study the anthropological debate over percussion and transition, that most of the examples of percussive trance fell into two broad categories.
“In the first, drumming was used to summon the spirits or the gods down into the body of someone other than the drummer, usually a dancer. This is known as possession trance.”
Ray Manzarek certainly was right when he said that The Doors were “really evil, insidious cats behind Jim [Morrison].” Biographers James Riordan and Jerry Prochnicky likewise write:
“Something happened when the four Doors played together that can only be described as alchemy.”
The authors previously wrote,
“Like the young Indian shaman, Morrison went through his test of fire. As the ancients had used peyote and exhaustion from dancing to prepare the way for communication with the Great Spirit, he used acid and the stimulus of isolation in his own ritual hunt for face-to-face encounter with the spirit he knew had always been near him…
“The Jim Morrison that had been raised in Alexandria, Virginia, was gone. And whatever he could have become was gone with it, replaced by the shaman, the mystic visionary.
“Win or lose the struggle for an identity was over and Jim Morrison was content for a time. There was a new confidence in him as if he knew what lay ahead. As if, when the time was right, the next door would automatically open. And indeed it did.
“An appearance of the devil on a Venice canal
“Running, I saw a Satan or Satyr,
“moving beside me, a fleshly shadow of my secret mind.
Jim Morrison, who was also a follower of Aleister Crowley, died of drug overdose in 1971 at the age of 27 in Paris. One year earlier, Jimi Hendrix “aspirated his own vomit” and also died of drug overdose at the age of 27. Both men died young—miserably and pathetically.
In short, the United States government seemed to have a full grasp of what happened to thousands of young people during the hippie movement when they were hooked on drugs and rock and roll and seemed to have advocated the same thing in Cuba. But this time it was being done through rap music and its offshoots such as hip hop and R&B.
So, whenever you see sluts and whores and punks like Beyonce, Rihanna, Niki Minaj, Eminem, getting naked on stage and grabbing their crotches and twerking, you know they indirectly get their support from the government. And you know that they are corrupting the young people.
The deeper issue one must press here is that these people are not that smart to hold thousands of people in what seems to be an ecstatic state. How do people like Rihanna do it?
Well, the Daily Mail told us last year that people Jay-Z and Jimmy Page of Led Zeppelin “are believed to be involved in the OTO.” We know that Page was a Crowley devotee, and Jay-Z, we were told, “
has repeatedly purloined imagery and quotations from Crowley’s work. Whether wearing a T-shirt emblazoned with ‘Do what thou wilt’ or hiring Rihanna to hold aloft a flaming torch in his music videos (a reference to the Illuminati, an outlawed secret society whose name supposedly derives from Lucifer, or ‘light bringer’), he has given the sect priceless publicity.
“His clothing line, Rocawear, is shot through with OTO imagery such as the ‘all seeing eye’ in a triangle, the ‘eye of Horus’ (an ancient Egyptian symbol frequently referenced in occult texts) and the head of Baphomet (the horned, androgynous idol of Western occultism).”
Peraps she was not joking when she said, “Medusa head on me like I’m ‘luminati’” Whether she and other puppets are just kidding is hard to tell.
But we know that Rihanna’s most provocative “artwork” was directed by none other than Damien Hirst, an art collector who over the years has challenged the traditional wisdom of the West by portraying truly grotesque artwork.
Hirst collaborated with Jewish art collector by the name of Charles Saatchi, who worked with Tracey Emin, a feminist. Emin herself never missed the opportunity to show her pornographic “artwork” to the world. As Lasha Darkmoon pointed out,
“The sad truth is that so many female ‘artists’ — almost all of them rabid feminists and sexual exhibitionists — have nothing to sell but vaginas.
“Here are ten other vagina-obsessed females, apart from Tracey Emin and the notorious Annie Sprinkle, who use sex to sell their ‘art’: Karen Finley, Hannah Wilke, Carolee Schneeman, Andrea Fraser, Sarah Lucas, Marlene McCarty, Vanessa Beecroft, Malerie Marder, Katy Grannan, and Kembra Pfahler.”
Well, in the world of pop music, female “artists”—most specifically the dumb Goyim—cannot survive without literally taking their clothes off like sluts and whores ready to make money.
And Rihana, for her part, has given one enough indication in her songs and lyrics to extrapolate that she is up to something dark and evil. A classic example would be Disturbia:
It’s a thief in the night to come and grab you
It can creep up inside you and consume you
A disease of the mind, it can control you
It’s too close for comfort
Throw on your brake lights, you’re in the city of wonder
Aint gon play nice, watch out you might just go under
Better think twice, your train of thought will be altered
So if you must falter be wise
Your minds in disturbia, it’s like the darkness is light
Disturbia, am I scaring you tonight?
Disturbia, aint used to what you like
People like Rihanna prove that modern art seeks to insult your moral reasoning. As Darkmoon has said in her article “The Plot Against Art”:
“Modern art is out to corrupt you. If it doesn’t do this, it will have failed to achieve the primary purpose of its elitist promoters. It will have failed to undermine traditional values. It will have failed to produce a ‘culture of pessimism.’ It will have failed to destroy the sacral core of life. It will have failed to poison your mind and give you the sickness unto death. It will have failed to make you what Big Brother finally managed to make Winston Smith in Orwell’sNineteen Eighty-Four: a mindless zombie.”
The sad part is that this moral corruption got its start in Zionist countries like America and is now traveling with a centripetal force in countries like South Korea. The South Korean rapper known as Psy, who is now hanging around thugs like Snoop Dogg, is a product of this moral corruption.
Rap music has largely destroyed the moral and intellectual fabric of millions of young black youth in America, and both Ronald F. Ferguson of Harvard and Edmund Gordon of Yale have indirectly admitted this fact. In a similar vein, Allan Bloom declared that rock and pop music
“ruins the imagination of young people and makes it very difficult for them to have a passionate relationship to the art and thought that are the substance of liberal education.”
Rap music will do the same thing in Korea, unless a powerful force stops it from propagating. Psy has already portrayed women as sex toys and objects.
Perhaps it is high time for the Korean government to study the work of Emperor Shun or the Chinese philosopher Mencius, who said quite powerfully:
“To act without understanding, and to do so habitually without examination, pursuing the proper path all the life without knowing its nature—this is the behavior of multitudes.”
 Andrew Fletcher, Political Works (Cambridge: Cambridge University Press, 1997), 179.
 See for example Dorothy G. Singer and Jerome L. Singer, Imagination and Play in the Electronic Age (Cambridge:Harvard University Press, 2005); Bradley M. Waite, Marc Hillbrand, and Hilliard G. Foster, “Reduction of Aggressive Behavior After Removal of Music Television,” Hospital and Community Psychiatry, Vol. 43, February 1992, 173-175.
 Allan Bloom, The Closing of the American Mind: How Higher Education Has Failed Democracy and Impoverished the Souls of Today’s Students (New York: Simon & Schuster, 1987), 12.
 For a complete study on this, see David Tame, The Secret Power of Music: The Transformation of Self and Society Through Musical Energy (New York: Destiny Books, 1984).
 For further studies, see Curt Sachs, The Rise of Music in the Ancient World: East and West (New York: W. W. Norton & Co., 1943); Julius Portnoy, Music in the Life of Man (CT: Greenwood Press Publishers, 1963); Gilbert Rouget, Music and Trance: A Theory of the Relations Between Music and Possession (Chicago: The University of Chicago Press, 1985); Willis Harman and Howard Rheingold, Higher Creativity: Liberating the Unconscious for Breakthrough Insights (New York: Jeremy Tarcher, 1984); Anthony Storr, Music and the Mind (New York: Ballantine Books, 1992); Robert Jourdain, Music, the Brain, and Ecstasy: How Music Captures our Imagination (New York: William Morrow Co., 1997); Subliminal Ad-Ventures in Erotic Art (Wellesely, MA: Branden Books, 1992).
 See Wilson Bryan Key, Subliminal Seduction (New York: Signet, 1974).
 Michael Morgan, George Gerbner: A Critical Introduction to Media and Communication Theory (New York: Lang Publishing, 2012), 29.
 Quoted in David Henderson, Scuze Me While I Kiss the Sky (New York: Bantam Books, 1978), 214.
“ Report: U.S. tried to topple Castro — with hip-hop,” USA Today, December 11, 2014.
 Bill Hutchinson, “U.S. co-opted Cuba’s hip-hop scene in failed attempt to spark unrest in communist nation,” NY Daily News, December 12, 2014.
 “The US Secretly Funded A Hip Hop Artist To Overthrow The Cuban Government ,” Business Insider, December 11, 2014.
 Hutchinson, “U.S. co-opted Cuba’s hip-hop scene in failed attempt to spark unrest in communist nation,” NY Daily News, December 12, 2014.
 Sissela Bok, Mayhem: Violence as Public Entertainment (Reading, MA: Addison-Wesley Publishing
Company, 1998), 41.
 For a fuller examination on this, see David A. Noebel, The Marxist Minstrels: A Handbook of Communist Subversion of Music (Tulsa: American Christian College Press, 1974).
 Francesca Lia Block, “The Volcano Lover,” Spin, March 1996.
 Jimi Hendrix “An Infiniti of Jimis,” Life magazine, October 3, 1969, 74.
 See for example Julius Portnoy, The Philosopher and Music: A Historical Outline (New York: Decapo Press, 1980); Joscelyn Godwin, The Harmony of the Spheres: A Sourcebook of the Pythagorean Tradition in Music (Rochester, VT: Inner Traditions International, 1993).
 W. T. Stace, A Critical History of Greek Philosophy (New York: St. Martin’s Press, 1965), 35.
 Julius Portnoy, The Philosopher and Music: A Historical Outline (New York: Decapo Press, 1980), 21.
 Ibid., 6.
 Campbell, The Mozart Effect for Children, 9.
 Godwin, Harmonies of Heaven and Earth, 169-70.
 see E. H. Gwynne Thomas, A Concise History of Education to 1900 A.D. (Washington: University Press of America, 1981), 13-14.
 Allan Bloom, The Closing of the American Mind, 31.
 Jerry Hopkins and Daniel Sugerman, No One Here Gets Out Alive (New York: Warner Books, 1980), 158-60.
 Mickey Hart with Jay Stevens, Drumming at the Edge of Magic: A Journey into the Spirit of Percussion (New York: HarperCollins Publishers, 1990), 161.
 James Riordan and Jerry Prochnicky, Break on Through: The Life and Death of Jim Morrison (New York: William Morrow and Co., 1991), 191.
 Hart, Drumming at the Edge of Magic, 163.
 Riordan and Prochnicky, Break on Through, 188.
 Ibid., 186.
 Ibid., 73.
 Bloom, The Closing of the American Mind, 79.
 James Legge, translator, The Works of Mencius (New York: Dover Publication, 1985), 451.