WHY POP MUSIC IS MORE THAN ENTERTAINMENT
Part two in this series of blog posts shall center on the machinations behind the creation of the music mass marketed by the media sorcerers.
By now, anyone viewing this blog is familiar with the concept that what one hears on the radio, or views on television screens and witnesses on the video channels is created for a far different purpose than is normally perceived.
In truth, pop music’s ostensible purpose of entertainment is only surface, the essence is quite something else entirely.
The stars throughout the hallowed ages one has come to appreciate, and perhaps even adore, are not widely marketed for one’s viewing or listening pleasure. Rather, the real purpose is in fact far more sinister.
Though many are entranced by the sheer glitter and sparkle of mass consumed pop music, it is well to keep in mind this is but another avenue through which the media sorcerers put the public under a spell, to influence, and ultimately shape public behaviors, conducive not only to profit making through the trade of commercial goods and services, but to induce mass psychological and social conditioning.
After all, an obedient population, not prone to intellectual curiosity about the machinations of this world, is far easier to control than one organized around an independent spirit of mind.
THE PERFORMERS ARE INCIDENTAL, THE SONG REMAINS THE SAME
The fact is, whether it be Eminem, Elvis, The Beatles, Michael Jackson, or even Lady Gaga, pop stars are in fact archetypes, actors playing a role scripted for them by the media sorcerers. Though the concept may seem bizarre to some, pop stars represent various behavioral models designed to stimulate social agendas, targeted towards one population demographic or the other. They are human billboards selling a lifestyle, a demographic designation complete with ancillary products ready to market.
The real purpose in marketing these artists is to hold them up as behavior models, to be not just worshiped or adored, but imitated and aped, both in manner, dress and speech. Although we began the last post in this series in examining hip-hop, it is necessary to travel back further, in order that one might better understand the completely sinister nature of not only pop music, but pop culture itself.
TAVISTOCK INSTITUTE
In London, not far from the one square mile tucked inside the city proper, headquarters of the Crown Temple Bankers, sits a rather bland facade not included on the list of tourist attractions. Though the outside may appear unremarkable, the carefully crafted scientific work having to do with human behavioral sciences that has gone on inside, is rather grand indeed. The Tavistock Institute may be rather obscure to tourists, and even native Londoners, but the effect of the ongoing research can be felt around the globe, in schools, universities, law enforcement, corporate boardrooms, and workplaces.
The scope of Tavistock research is far reaching and deep. The Briggs-Meyers personality tests, now standard for all entry level prospective job applicants seeking positions within the Fortune 500, were first meticulously developed by Tavistock, and the Stanford Research Center, which represents a Tavistock sister laboratory for social sciences research. Tavistock influence extends to even law enforcement, not only in the EU, but in America, where Common Purpose, a sub-set of Tavistock, has been contracted to offer standardized training to police and fire departments.
Perhaps the most stunning example of this organizations handiwork occurred during the second world war, when at the behest of both Britain’s Home office and Prime Minister Winston Churchill, a study was conducted in and around London to observe and determine the psychological effect of the German bombing raids on the populace. Tavistock social engineer’s concluded that through the regular and steady bombardment of penetrative or even uncomfortable stimuli, the malleable nature of the human psyche could be molded, or programmed, into any desired shape.
This research extended for the entire duration of the war, and even beyond, funded on the public dime. In essence, the populations of London were held captive like laboratory rats in cages, to be studied by mad scientists-and they were footing the bill, while men, woman, and children were being systematically subjected to psychological torture, and blatant mind rape.
That this brings questions about the true purpose and the official recorded history concerning the second world war, shall be examined in another post. Suffice it to say, when one considers that all countries, particularly in the West, are merely corporations owned and operated by the Crown Temple bank, is it such a stretch to speculate that the concept of war in a modern context may have an ulterior purpose, rather than opposing one or more military forces upon a battlefield for some mere geopolitical purpose?
THE BIRTH OF ROCK ‘N’ ROLL
Additional post-war research conducted by Tavistock concluded that excessive volumes of repetitive stimuli pitched at certain frequencies could mold the human mind via the subconscious, coaxing dormant fears, desires, whether of a sexual or violent nature forward into the conscious mind. Additional corroborative research performed by Stanford Research Center underscored these particular findings, and the psychological sorcerers at Tavistock decided to put these experimental results into practice.
It is important to note that Tavistock Institute is intimately involved with broadcast media, both television and radio, specifically the BBC. Conspiring with the media, and corporations embedded in the publishing and recording industries, a new sound was unleashed upon the ears of the unsuspecting masses, one that would have profound effects for generations to come, just what the social engineers intended.
OPERATION ROCK AND ROLL
Plato spoke of the intimate relationship between politics and music in his classic work The Republic. It was well understood by the ancient Greeks that man could be coaxed to certain behaviors through the stimuli of musical tones.
That this continues to be a modern day practice, even in the 21st century, is not surprising. Plato understood that this three dimensional space mankind occupies consists mainly of light and sound frequencies, and that with proper scientific application, these frequencies can be manipulated into desired formula.
Music has a profound effect on the nervous system, and when applied to the arena of politics, it can be used for good or ill, mostly for the latter purpose by our modern day media sorcerers. This concept represented the crux of the Tavistock plan for implementing a new style of music to stimulate certain consumer behaviors. By the end of the second world war it was well understood by these social engineers the profound effect a heavy bombardment of steady and repetitive stimuli would have on the human nervous system. Thus was born the phenomenon of what came to be known as rock and roll.
Truly ironic that older musical forms based on rather simple and repetitive chord structures developed by blues artists of the 1930’s and 1940’s, would come to be updated and massively exploited by white artists, while the originators would be largely excluded in benefiting from any successive commercial windfall.
The legendary heavy rock progenitors Led Zeppelin were known even in their commercial heyday to outright filch arrangements from older blues artists, merely affixing new titles to the compositions, and claiming themselves as the original composers.
The post war period saw Tavistock and the London Crown Temple bankers conspiring to stimulate overseas trade, particularly in America, where new commercial markets were expanding to a newly developed population demographics settling outside the major urban hubs. The development of a new form of music would stimulate these markets to maximum profitability, leading to the formation of what came to be known as the suburban middle class. Intelligence agencies, in the form of the newly formed CIA and British MI5 and MI6, began working on behalf of their industrial masters to dominate commercial television and radio through Operation Mockingbird, which not only succeeded in planting agents within the communication fields to ensure the effective spread of government propaganda, they were also instrumental in placing agents in key positions at radio and television broadcast networks, formulating with utter certainty the new art form would reach the ears of millions of listeners by creating and driving forth artificial demand for this particular product.
THE BEATLES FAME WAS ARTIFICIALLY CREATED
Of all the classic pop artists, no legend other than the Beatles holds a tighter grip on public imaginations. But as you will see, it was all a psychological operation, designed for a specific purpose in mind, to reshape public perceptions and behaviors. Right from the beginning, the story of the Beatles formation and their ascendance to fame and fortune seems at best, viewed objectively, a most unlikely scenario. It must be remembered that EMI corporation, which eventually ended up signing the group to an exclusive contract, was merely one element of a larger construct. The company was merely part of Britain’s military industrial complex, inextricably linked with intelligence agencies and the Crown Temple Bankers, namely the Rothschild family, one of Europe’s most prominent banking bloodlines. Though it is not retold in the official legend of the Beatles, EMI was not the first label manager Brian Epstein presented the group for commercial consumption. Since Operation Rock and Roll, directed from Britain’s Home Office, and overseen by the Prime Minister’s cabinet agents, was launched to stimulate overseas trade in America, it was believed that if the group was to become a world wide phenomenon, then America was where the commercial markets to exploit this new art form existed.
Needless to say, Epstein’s first attempts to break the band in America were a dismal failure. First having been signed by Bell Records, a small record label in Philadelphia with mafia financiers as silent partners connected to the Kray brothers back in London, the Beatles first single, I want to hold your hand, barely charted, forcing Epstein to re-calibrate his efforts. This is where Ed Sullivan, one of CIA’s agents installed at CBS, headed by high degree masonic figure William Paley, came to the rescue. That the late Beatles producer stated many times how incompetent the Beatles were as instrumentalists, with particular regard to Ringo Starr, who Martin claimed could not even perform a simple drum role, is downplayed incessantly by any recounting of the Beatles tale in their Horatio Alger journey to the top of the pops. The question is never asked, how is it that four obscure barely competent Liverpool working class louts could have written such indelible pop classics during their first recording sessions?
In part three, coming up soon, we will delve into educated speculation as to the source of some of pops greatest compositions, as well as outline the purpose of the psychological operation known as Rock and Roll!
