Originally posted by aorAki
A friend of mine in the 'music industry' sent me this link the other day:
I haven't read it all yet, but I feel it has some relevance.
That link provides some interesting confirmation of the premises retained and techniques used to condition the public mind.
The Illuminati Serpent Cults have used music since ancient times do entrance populations often associating it with rituals and occult symbolism. Maybe Wagner's operatic works can also be associated with this as espoused by Hitler, and in modern times the trance inducing effects first of rock music and later more openly so Rave parties.
Revealing of this process is the title of Adorno's work:
The Culture Industry: Enlightenment as Mass Deception
This highlights the probable use of The Beatles and the worldwide lasting propagation of their music and lyrics within such a process of Illuminati Mind Control. Whether for human dominance or to further an Alien Agenda must be sorted out for each investigator based upon their acquired body of knowledge and suppositions about the underlying intent.
For confirmation, here is a quote of aorAki's linked article by Sam Jeffries about Adorno's theories:
"Rock and roll is not about structural innovation. One could apply "structural listening" to rock and roll, but it would be like using a microscope to read a magazine. The structure is already given, and is easily discerned. Rock and roll creates its effect through repetition (both across and within individual songs) and slight variation. The established forms and styles of rock trigger emotional responses, responses which are historically prescribed. By triggering the pleasure-effects of established styles, and at the same time introducing variations within its standard structures, rock and roll inspires both the comfort of the familiar and the thrill of the new."
"Adorno recognized all this, and spared no harsh words for the formulaic nature of popular music. For him, this "variation-within-a-structure" formula is the worst kind of musical production. It leaves the listener expecting and desiring nothing new, and, at the same time, remaining content with pre-ordained "deviations" in place of real change. In other words, the structure of popular music, along with the diachronic "constancy" of each pop-music form, directly interpellate the listener into the "false consciousness" of capitalist ideology. "
[edit on 31-8-2010 by Getsmart]