- Delivering Truth Around the World
Custom Search



Smaller Font Larger Font RSS 2.0

Dec. 28, 2016

In my previous article, I noted that culture by definition must be a “refining of the moral and intellectual faculties,” not materialistic (or egotistical) and based entirely on the sense organs or senses.  In fact, the word immaterial is defined as “spiritual, ethereal, characterized by unusual delicacy and refinement.”  The word refine means “to free from what is coarse or vulgar; to free (as the mind or soul) from moral imperfection, grossness, dullness, earthiness; spiritualize; to increase or heighten the discriminatory power of; to become pure or perfected.”


Most of the “unwashed masses” do not fully appreciate the importance of music as a force for spiritual growth or degradation.  Up until about 100 years ago, people believed that music played a role in determining Man’s moral nature.  Henry David Thoreau warned that the wrong type of music destroyed Greece and Rome and will destroy England and America.  The great classical composers saw their music as a way of uplifting the consciousness and spirituality of humanity to lead the way to a golden age of peace, prosperity and brotherhood.  The ancient civilizations believed that music was the most powerful path of religious enlightenment and the basis of stable, harmonious government.  Allowing the music to be controlled by the evil and ignorant would lead civilization to an inevitable doom.  Ancient Greek composers were fined and exiled if their music was considered to be detrimental to the public good.  In ancient China, Emperor Shun journeyed throughout his kingdom once a year and tested the exact pitches of the notes of music to ensure perfect correspondence to the five notes of the ancient Chinese musical scale.  He believed that the music had to be uniform to preserve unity, and vulgar music was forbidden as it was bound to lead to widespread immorality in the nation.  The kingdom’s music was as important to Confucius as military and economic matters are to politicians today.


Music is Inherently Good or Bad


Scott writes that many people don’t want to hear that “different types of music are inherently good or inherently bad . . .” (Cyril Scott, Music: Its Secret Influence Throughout The Ages, Rev. ed., London, 1958, p.144), because this shows that music is not democratic but follows certain laws.  In his famous work “Laws,” Plato lamented:  “’Through foolishness they deceived themselves into thinking that there was no right or wrong in music – that it was to be judged good or bad by the pleasure it gave’” (Ibid., pp. 188-189).  The people thought they were intelligent enough to judge for themselves whether the music was good or bad.  Most people do not take the character of musicians into consideration before opening their hearts and minds to their music.  Scott continues:  “No matter how one might try, it is impossible not to express in one’s music the reality of one’s own inner state of being, even if only in subtle ways.  This affects others, the attainment or weaknesses of the performer or composer tending to become the attainment or weakness of the hearers” (Ibid., p.155).


Tame writes:


“Due to the danger of music being misused by the evil or ignorant, in classical Indian music great stress is laid on the morality and spiritual stature of the musician. . . . As early as the third or fourth century B.C., the author of Ramayama stated that a singer  . . . should always sing exactly as taught without any attempts to improve or change [‘make it one’s own’] the master’s composition with flourishes and the like” (David Tame, The Secret Power of Music, Rochester, Vermont, 1984, p.175).


Most people do not take into consideration the effect of music on their spirit either.  From the materialist’s simplistic point of view, music is just sound which can be used to entertain or give pleasure to the senses.  It has no innate spiritual value.  However, sound affects the spirit, not just the mind and body.


Scott writes:  “. . . [O]ur researches have proved to us that not only the emotional content but the essence of the actual musical form tends to reproduce itself in human conduct . . .” (Scott, p.40).  “. . . [A]s emotional habits are as readily formed as, or even more readily than, other habits, they eventually become a part of his character” (Ibid., p.41). The music of Palestrina (1529-1594) “urged people to think, but owing to its effect on the higher emotional nature, to think in a more spiritual way:  it was their emotions which, so to speak, directed the course of their thought” (Ibid., p.186). 


When Finland was occupied by the Russians, the latter was compelled to ban Sibelius’ music “Finlandia” as it fanned the flames of nationalism.  Even today, the German national anthem under Hitler is banned, and the Jews want it banned worldwide.  Songs united our nation in the years before the American War of Independence.  Francis Hopkinson, Thomas Paine, John Dickinson, and Benjamin Franklin were popular songwriters.  The British were very disturbed when they heard the “warlike” song “Yankee Doodle,” the Americans’ favorite victory music.  Thus it is pointless to argue that people are not affected, for good or evil, by the music they listen to.


Scott continues:


“Like human nature itself, music cannot possibly be neutral in its spiritual direction.  At times it may exhibit a mixture of uplifting and degrading elements, but ultimately all uses of tone and all musical lyrics can be classified according to their spiritual direction, upward or downward. . . . [T]hey either lift people into an awareness of beauty and sublimity, or . . . they inculcate, subtly or overtly, feelings of indiscipline and hedonism.  To put it plainly, music tends to be of either the darkness or of the light.


“History records that of the music of light and that of darkness, only one is usually prominent within any given civilization.  For as long as sublime and beautiful music prevails, so does the civilization flourish both spiritually and in material prosperity.  Almost always, whenever the major music of a civilization has been of a more primitive and abandoned nature, the civilization itself has been barbaric and has usually gone into decline, eventually ceasing to remain a civilization at all” (Ibid., p.187, emphasis added).


“It has been proved that sound can be both constructive and destructive:  it can create forms, it can also destroy forms.  From a chaotic sprinkling of sand on a glass plate, geometrical patterns may be formed with the aid of a violin-bow drawn across the edge of the plate; a fact which goes to prove the constructive effect of sound-vibrations.  Conversely, the sound of the human voice may be employed to shatter a tumbler or wine-glass to atoms” (Ibid., p.38).


Dr. Masaru Emoto has done studies showing how sound, thoughts, and emotions can shape crystals in water.  Since the body is about 70 percent water, it stands to reason that music alters the vibrational state of our bodies.  Music can help create harmony in Man’s subtler bodies and give him the experience of spiritual joy and exaltation.


“And, apart from this, it is patent to everyone who has given the subject a moment’s thought that it is to sound we originally owe our power to communicate one with another. . . . And if sound in itself is of such importance, what may be said of it when blended and mellowed to form the art of music? . . .


“’Musical training,’ writes Plato, ‘is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul, on which they mightily fasten, imparting grace, and making the soul of him who is rightly educated, graceful.’  So pronounced, indeed, was Plato’s opinion of the effects of music that in another part of his Republic, he says:  The introduction of a new kind of music [this also included poetry and dancing] must be shunned as imperiling the whole State:  since styles of music are never disturbed without affecting the most important political institutions.’  Nor was Plato alone in his opinion, for Aristotle . . . wrote . . . ‘emotions of any kind are produced by melody and rhythm; therefore by music a man becomes accustomed to feeling the right emotions; music has thus the power to form character [or have an effect on it] – one . . . of melancholy, another of effeminacy; one encouraging abandonment, another self-control, another enthusiasm, and so on . . .’” (Ibid., pp. 38-39).


“Greek music became trite and effeminate, and the people followed suit.  Homosexuality was rampant, and the nation waned over the years as a military force and as a bastion of culture” (Ibid., p.189).


Great Musical Composers


Brahms “maintained that only when the creative artist was receptive to . . . [the] Spirit could   . . . he write immortal works, and not otherwise. . . [W]hen Brahms made his confession, he stipulated that it should not be published till 50 years after his death; hence it has not figured in any biography.  Nevertheless it has now belatedly been revealed that Brahms was one of those composers who believed in inspiration of a more special kind than do those skeptics who only believe in what they can see, hear, taste, feel or smell” (Ibid., p.28).  Few composers “are endowed with more than mere cleverness and whose music is not a reflection of the things ‘earth earthy’ but of the ‘things of the spirit.’” (Ibid., p.29).


Handel’s music, such as “Messiah,” was preferred by Englishmen (Ibid., p.48).  It was predominantly formal, which translated into human conduct that loved outward ceremony and adherence to convention and veneration for tradition (Ibid., p.50).  In the 1800s, people in Victorian England were for the most part irreverent and coarse-minded.  Handel’s music changed the whole nation, making them more respectful and reverent (Ibid., pp. 50-51).  Although the English and the French were very much alike temperamentally, Handel was not so appealing to the French (Ibid., p.54).


While Handel was easy-going, Bach was always strict, and his music had “’an indestructible spirit of severe logic and unalterable conformity to law . . .’” (Ibid., p.57).  Bach was a mathematician, so his music had a great effect on the mind, resulting in vastly increasing the intellectuality of the Germans rather than appealing to their emotions (Ibid., p.58), resulting in a mentality of law and order.  When Handel’s music appeared, it conventionalized the Germans.


Beethoven “was the greatest musical psychologist” (Ibid., p.63).  He portrayed every kind of human emotion in sound.  His music appealed directly to the intuition or subconscious, compelling people to acquire understanding whether they wanted to do so or not (Ibid., p.64).  His music induced sympathy and compassion in a day when most people had feelings for God but had little or nothing left over for man.  As a result, Beethoven’s music led to allowing music and books in prisons, changed the attitude of children toward their parents from duty to friendship and mutual understanding, and gave rise to the study of psychology (Ibid., p.65).  His music “gave utterance to all those feelings which they could not, perhaps even dared not, express in any other way” (Ibid., p.66).  His music seemed to “bring to the surface suppressed emotions that could only find vent in weeping” (Ibid.).  However, as Beethoven’s deafness grew worse, his extraordinary fondness of humanity showed up in his compositions, but it was “the humor of the gallows; the sardonic laughter of a man who has lost all!” (Ibid., p.69).  But, although this often caused offence, it also aroused sympathy for one who was in despair.


While Beethoven liberated repressed passions from the subconscious, Chopin awakened “the desire for culture by portraying the poetry of refinement and the inherent charm of poetry itself” (Ibid., p.86).  His music began the emancipation of women at a time when women were supposed to fear and remain in awe of their husbands.


“. . . [T]he idealists such as Handel and Beethoven . . . consciously avoided depicting the imperfect, mortal nature of people.  To them, it was preferable to outpicture the divine spark within all men, which they hoped and believed that their music would itself help to nurture” (Tame, pp. 80-81).


In an age when children were to be seen and not heard, Robert Schumann brought about a deeper love and understanding of children.  He was more inspired by literature than any other composer, and his music had an atmosphere of simplicity and innocence (Scott, p.90).   “. . . [W]ith him true romance was associated with childhood, not with maturity.  Himself a large overgrown child, a dreamer, he portrayed those romantic sentiments which alone exist in the dreamland of children” (Ibid., p.91).  “. . . Schumann was, as it were, the messenger from the heart of the child to the heart of the parent” (Ibid., p.92).  His music also had a marked effect on children, particularly their subconscious.  “It is the only music so far conceived which is attuned to the child-mind, and for this reason it is – equally – the only music capable of educating the child” and helping “the child more speedily to reach maturity of mind” (Ibid., p.93).


“. . . [T]he keynote to ‘Richard’ Wagner’s music-drama is unity in diversity. . . [A] vast array of themes, melodies and motifs . . . are woven together . . . as to present one continuous whole. . . . Wagner’s music was the prototype of the principle of co-operation in contradistinction to competition; spiritually speaking, it symbolized the mystic truth that each individual soul is unified with the All-soul, the All-pervading Consciousness” (Ibid., p.97).  Corinne Heline writes in her book Healing and Regeneration Through Music:  “The Grail music of Richard Wagner is literally a transcription of the music of angelic choirs and . . . possesses the highest vibratory rate of any music yet heard . . .” (p.37).


As an artist and dramatist, it was inevitable that Wagner would also portray many ugly emotions.  His music aroused an intense feeling of nationalism in Germany.  However, “’His whole life, in fact, was single-heartedly devoted to the regeneration of the human race,’ and     . . . he loved not only the human race, but the brute creation also . . .” (Scott, pp. 100-101).

Mozart (1756-1791) “expressed that gentler side in terms of music” and was hailed as the greatest of all musicians (Ibid., p.189).  A 1993 study revealed that college students scored higher in I.Q. after listening to a Mozart piano sonata for 10 minutes than students who listened to relaxation tapes.


Tame cautions, however, that classical music is not only spiritual and inspirational, but it is also “very demanding intellectually, if it is to be fully absorbed” (Tame, p.126).  Consequently, classical music is not something one listens to all the time since it is not just for easy listening.  It is like going to the opera at a concert hall.  One does not go to the opera every day.


Germain concludes:


“One could not possibly listen to the great masters of symphony and give vent to unbalanced emotions, or plan to steal or kill, or even plan any physical action, whatsoever, if one had reached that high point where his own intellect reached the immortal intellect of the composer” (Violinio Germain and Gyeorgos Ceres Hatonn, The Sacred Spirit Within, Tehachapi, 1991, p.52).


The War Against Spiritual Idealism


Germain continues that the world “reached a promisingly high stage of culture in 1900 but has degenerated so far since then . . .” (Ibid., p.28), and “the repercussions of centuries of man’s ignorance of his own spiritual nature are coming to a head” (Ibid., p.18).  Shortly after 1900, music was redirected from the spiritual to the physical.  It was a revolution into materialistic humanism. Atheist, materialist humanism was diametrically opposed to spiritual idealism.  The former’s philosophy is that there are no objective universal values or morals, and thus each of us are at liberty to do as we please.  For instance, Debussy’s “La Mer” was distinctly materialistic.  Debussy was for many years the head of the Priory of Sion which was dedicated to the overthrow of European governments.


From 1908, the Jew Arnold Schoenberg’s music renounced the concept of tonality for the first time in human history (Tame, p.91).  Atonality encouraged unlimited anarchy and liberty (Ibid., p.92).  While tonal music was objectively right, or correct, in tune with the entire universe and was a source of healing and regeneration, atonal music did the exact opposite (Ibid.).  Charles Ives’ music “was not merely dissonant, but mad” (Ibid., p.95).  Six composers in Paris followed his lead and incorporated jazz and cheap forms of music into their works.  Igor Stravinsky’s music lowered the state of consciousness.  After listening for only two minutes to his “The Rite of Spring,” the audience began shouting in outrage and fought one another with fists and canes (Ibid., p.97).  At a Rolling Stones concert in 1969 at the Altamont rock festival, the Hell’s Angels went on a rampage, injuring and killing people in the audience when the song “Sympathy for the Devil” was performed (Ibid., p.154).

Plato as well as other ancient sages believed that art and music had to contain Beauty, Truth, and Goodness in order to be of value and be beneficial (Ibid., p.127).  Music today, however, has become mechanized through electronics, although machines and synthesizers are incapable of infusing these subtle values in music.  David Icke writes that popular music today communicates mass mind control, transhumanism (the robotization of the human body), and the virtual police state.  Young people are made to think of these trends as cool, hip, and trendy.  Music performers have become mechanized with blacks leading the way in dancing like robots.  One might logically ask from what consciousness this music was conceived and in what destructive direction it is likely to take civilization.  “. . . [A]re not the principles and standards by which we judge music and the other arts basically the same as those by which we govern our lives and by which we structure our view of the world?” (Ibid., p.126).  If we discard value judgments of music, we can be sure that we will also discard values by which we live and relate to our fellow man.


Music affects not only physical health and character but society at large, and it even extends to inanimate matter.  The following are some examples of how rock music has detrimental physical effects on living beings:


1.     Soft eggs taken to rock concerts and placed at the foot of the stage become “hard-boiled” due to the music.

2.     Cows give less milk and hens lay fewer eggs.

3.     Mice kill each other when they listen to it.

4.     Plants grow away from it, and if the music persists, they wither and die; flowers don’t bloom.

5.     The human heart beats unnaturally fast and can lose its rhythm.  People get used to the stimulation of their fast heartbeat and therefore fall asleep when they hear soft music.  This is why they are very derogatory toward soft music.

6.     It is bad for the digestion.

7.     It raises blood pressure and makes hypertension worse.

8.     It affects the subconscious as evidenced by people’s feet or legs moving unconsciously to the beat.  Thus, it leads to a lack of self-control.

9.     Human health is endangered at 90 decibels or above.  Rock concerts often reach 120 decibels.  If sound can calcify eggs, what is it doing to people’s brains?  Of course, the music has to be played loud since many have had a permanent loss of hearing.


Some of the drummers actually have orgasms after several hours of non-stop drumming.  Thus, it is indisputable that we are engaged in music warfare with “guitar-gunners.”  The destructive beat, heard throughout the world, overpowers the inner silence and peace necessary for contemplating eternal truths and being in a higher state of consciousness.  The nerves become dulled and exhausted from overstimulation and irritation. 


Sexual Arousal Induced By Music


Music with an insistent beat causes an excitation of energy to flow down to the genitals, a force over which an individual has no control unless it is blocked by a band of tension around the waist.


Lowen writes, as a psychiatrist:


“Overstimulation drives a person out of his body by disturbing his inner rhythms and harmony.  Like a person who has diarrhea, his body has to keep running. . . One can gauge the severity of this disturbance by a person’s inability to sit quietly, to do nothing, or to be alone – in other words, to be in himself.  It can also be gauged by the restlessness that drives people into constant activity, into continually doing something, and into ever new projects” (Dr. Alexander Lowen, Depression and the Body, Repr., N.Y., 1980, p.242).


“We can surmise that the hung-up individual is in a state of pain.  However he does not consciously experience his pain.  He has deadened himself to it by rigidifying his structure.  And he is afraid to release the rigidity because that would evoke the pain.  When a hung-up condition becomes second nature to a person, he also loses the awareness of his rigidity.  What he does sense is a lack of pleasure in his life, which forces him to intensify his drive for money, success or fame, or to attain whatever goal his illusion has set for him.  He becomes caught in a vicious cycle spiraling higher and higher until the illusion collapses and he plummets into depression” (Ibid., p.56).


“Our culture is outer-directed in that we are trying to find the meaning of life in sensation, not in feeling; in doing, not being; in owning things, not one’s self.  It is crazy and it makes us crazy because it cuts us off from our roots in nature, from the ground we stand on, from reality.


“But I believe the worst element in this culture is the over-focus on and exploitation of sexuality.  We are continually exposed to sexual images which are exciting but also frustrating since there is no possibility of immediate discharge.  This sexual overstimulation forces the individual to cut off sexual feeling in order not to be overwhelmed or to go out of control.  But since feeling is the life of the body, the neurotic individual whose sexual feelings have been suppressed is driven to act out sexually in search of excitement and feeling.  This generally takes the form of rape, the abuse of children or pornography” (Dr. Alexander Lowen, Joy: The Surrender to the Body and to Life, N.Y., 1995, pp. 242-243).


While most Whites may believe that the beat of the music itself is no danger or has no effect on people and that they do not lose control of their bodies when listening to it, Scott says that “When pulsation and syncopation are the rhythmic foundations of the music at a dance hall, the movements of the dancers can invariably be seen to become very sensual and oriented around the loins.  Such rhythms actually possess the capacity to force the subtle energies of the body downward into this region of the anatomy, therefore increasing the outpouring into the bloodstream of sexual hormones.  Once such biochemical and more subtle forces have become concentrated in the loins, they must find some manner of expression [release]” (Scott, p.199).


When young people who are unmarried are forbidden by their parents and/or their religion to discharge this excitation through sexual orgasm, it results in guilt if they engage in premarital sex or masturbation.  The excitement becomes imprinted in the personality if not discharged, and one will later unconsciously attempt to free oneself from one’s sexual hang-up by reliving the situation and completing the discharge, often later in marriage (Lowen, Joy, p.198).  However, this guilt might prevent a person from allowing him/herself to reach a climax.  While the desire for contact and closeness with someone may begin as an impulse of love, the tensions in the muscles can turn it into a harmful act due to suppressed anger.  Surrendering to the body may evoke a fear of death.


Young people often do not know how to deal with their sexual emotions which are aroused, so they often turn to drugs, smoking, and sex.  Since they already struggle with self-doubts and low self-esteem, they are naturally attracted to negative influences.  Listening to rock music satisfies an urge for self-destruction and the release from the effort and responsibility that death implies.  Country music isn’t much better with its projection into young people’s consciousness of crying, desolation, betrayal, and loneliness, turning them into neurotics.  Of course, this increases their need for drugs.


While it is easy to identify with songs of woe, loneliness, and despair, it is healthier to identify with songs that make us feel good about ourselves.  While parents, churches, and schools try to steer kids away from sexual activity, the music they allow their children to listen to undermines the values they are trying to instill in their children.


Scott writes that music “is a more potent force in the molding of character than religious creeds, precepts or moral philosophies; for although these . . . show the desirability of certain qualities, it is music which facilitates their acquisition” (Scott, p.40).


Since music affects morality and the character of civilization, many of our current musicians should be recognized as political agitators or revolutionaries.  From the viewpoint of ancient wisdom, music should only be used for spiritual and altruistic purposes.  It is hypocritical and dishonest to prevent young people from drinking alcohol but allow them complete freedom to listen to any music that they want.


Jazz and Rock and Roll Music


Germain writes:


“The very first dawn of any measure of spiritual meaning in jungle man is evidenced in his drum beat. . . . Melody and tonal variance unfold slowly as the spiritual nature of man very slowly unfolds in the great masses and more swiftly in the few” (The Sacred Spirit Within, p.45).


Unfortunately, some people have not progressed much spiritually since ancient times. Tame writes: 


“Were we to scour the globe in search of the most aggressively malevolent and unmistakably evil music in existence, it is more than likely that nothing would be found anywhere to surpass voodoo in these attributes.  Still practiced in Africa and the Caribbean specifically as the rhythmic accompaniment to satanic rituals and orgies, voodoo is the quintessence of tonal evil. . . Its multiple rhythms, rather than uniting into an integrated whole, are performed in a certain kind of conflict with one another” (Tame, p.189).


The black author Julius Lester reveals:


“The mambo, samba, tango, [and] merengue are all religious dances from Africa, Brazil, or Haiti. . . The twist, watusi, boogaloo, and monkey have come from the black community and have been appropriated by whites who have no idea that these are, in essence, religious dances, rich with sexual adumbrations” (Look Out, Whitey! Black Power’s Gon’ Get Your Mama!, 4th Ptg., N.Y., 1969, p.86).


Tame continues:


“Musicologists and historians are in no doubt that the drum rhythms of Africa were carried to America and were there transmitted and translated into the style of music which became known as jazz.  Since jazz and the blues were the parents of rock and roll, this also means that there exists a direct line of descent from the voodoo ceremonies of Africa through jazz to rock and roll and all of the other forms of rock music current today” (Tame, p.190).


Jazz by its very nature allows the musician to roam wherever his mood takes him – through valleys of melancholy and anarchy. 


Henry Ford writes that “Popular music is a Jewish monopoly.  Jazz is a Jewish creation” (Henry Ford, “Jewish Influences in American Life,” The International Jew, Vol. 3, Dearborn, Michigan, Nov. 1920, p.65).   Ford continues:


“The first self-styled ‘King of Jazz’ was a Jew named ‘Frisco.’  The general directors of the whole downward trend have been Jews.  It needed just their touch of cleverness to camouflage the moral filth and raise it half a degree above that natural stage where it begets nothing but disgust.  They cannot gild the lily, but they can veil the skunk-cabbage, and that is exactly what has been done.  The modern popular song is a whited sepulcher, sparkling without, but within full of the dead bones of all the old disgusting indecencies” (Ibid., pp. 78-79).


We might ask why many Americans reacted so strongly against a music played by only a small minority in the 1920s.  The answer is that, having never heard those sounds before, jazz was recognized as a threat to the stability of society.  However, our senses have become so dulled by its familiarity today that we accept it as simply an alternative form of music, even though it clearly shows the direction it wishes to take our consciousness and is devoid of higher, spiritual feelings.  Slang terms have been used by blacks in their songs to disguise the meanings of the words.  For instance, the male genitals are described as “roll” and “hot dog,” and the female genitals are “jam roll,” “bun,” and “shortening bread” (Tame, p.196).  A common term for sexual activity is “riding” (as in “easy rider”).


Pro-jazz writer Frank Tirro admitted in 1979:  “’Jazz became the symbol of crime, feeble-mindedness, insanity and sex, and was under constant attack from the press from the early 1920s on . . . [I]t is ironic that we preserve, study and enjoy a music today that was felt to be insidious and lascivious only yesterday’” (Ibid., p.193).


There is in fact a direct line of descent from voodoo through jazz to rock and roll.  Both of these forms of music are euphemisms of the sex act.  Scott writes that “After the dissemination of Jazz, which was definitely ‘put through’ by the Dark Forces, a very marked decline in sexual morals became noticeable” (Scott, p.142).  Interestingly, Scott says that a trained clairvoyant can see that a savage’s emotional body is “entirely undeveloped, . . . ugly in coloring, small in size, and lacking in all beauty of form. . . Further, in the aura of the savage there is practically no mental body discernible at all, whereas in the average man it varies in size and beauty of color according to the depth of his intellect and the loftiness of his thoughts.  It stands to reason, therefore, that both these bodies are developed in proportion to our emotional and mental lives, and it is for this reason . . . that the human aura is an indication of character for those who have the power to see it and to understand the significance of its many hues” (Ibid., pp. 112-113).


In the late 1960s and through the 1970s, rock music was followed by “hard rock.”  The body gets “high” on its own adrenaline on this music, resulting in aggression, anti-social behavior, and adrenal exhaustion.  During this time there was a dramatic rise in homicides and suicides.  One University study revealed that rap music junkies who didn’t get a regular “fix” developed trembling hands, nausea, and an unstable pulse – just like dope addicts deprived of drugs.


The Blacks’ Religion of Sensualism


Africans have made a religion out of sensualism.  Sensualism by definition relates to or consists of the gratification of the senses and sense organs and the indulgence of carnal bodily appetites.  This means that one is deficient in moral, spiritual, and/or intellectual interests, and it also equates to being materialistic.  It is exactly what the New Testament refers to as “the lusts of the flesh.”


From a psychological point of view, the sensualist is immature.  Lowen writes:


“The problem of the sensualist stems from a fixation upon the oral stage of development.  This fixation can be due to either oral deprivation [lack of touching or breastfeeding] or overindulgence.  Oral development in childhood fixates [emotional] development because it creates a feeling of unfulfillment of the basic needs for body contact and oral-erotic gratification.  The lack of satisfaction in this phase of life is responsible for the oral tendencies that are so evident in our culture:  the addiction to smoking and alcohol, passive attitudes in entertainment, the need for erotic stimulation [oral activities such as fellatio and cunnilingus], and the overindulgence in food.  Exactly the same tendencies develop through the overindulgence of a child in his oral needs, since this is always done to prevent a child from growing up and becoming a sexually mature individual” (Dr. Alexander Lowen, Love and Orgasm, 6th Ptg., 1979, pp. 186-187).


“The demand for love [by the oral character] is rationalized as follows:  I need you.  I want you.  I love you, therefore you should love me.  [Dependent love should not be confused with real love.  True love is giving out of abundance, not necessity.]  The person whose love has a dependent quality believes he is justified in his demand for love.  Without his realizing it, he has transferred to another person the unfulfilled longing of his infancy” (Dr. Alexander Lowen, Pleasure, Repr., N.Y., 1978, p.171).


While we may sympathize with the emotionally-undeveloped person who may try to compensate for what he did not receive in childhood, Lowen says:


“Oral needs unsatisfied in childhood cannot be fulfilled in adult life.  No amount of substitute mothering can give a person the security he failed to get in childhood.  As an adult he must find this security within himself.  No matter how much attention, admiration, approval or love one gives the oral personality, it does not fill his inner emptiness. . . The dream that one can reverse the past is an illusion” (Lowen, Depression, p.44).


“To a man or woman who didn’t get needed love and approval as a child, my advice is ‘Forget it.’  Once one attains adulthood, the issue is closed.  Return to infancy is impossible.  If a person tries to do so, he sacrifices his present --- that is, his adulthood –- in this vain attempt. . . . One has to accept his loss and go on living and growing” (Ibid., p.86).


In my opinion, many blacks blame Whites for their failure to have their oral needs satisfied in childhood from their parents.  So they demand admiration, love, or approval from Whites in a vain attempt to fill their inner emptiness that was created by the lack of love and attention from their mothers.  This is why many blacks want to live in a state of infancy, cared for by Big Mother Government (sucking on the government tit) – and like infants when they don’t get their way, they have temper tantrums (riot, kill, steal, etc.).  Whites are accused of racism if they don’t respond to their demands.  Generosity and indulgence exhibited by Whites are considered by blacks to be signs of weakness which can be exploited, and they will keep pressing for all that they can get if Whites are naïve or successfully intimidated.  Thus, blacks perpetuate the cycle of childhood “abuse” through violence.  As Stember writes: 


“Reporting on his experiences in the Southern Civil Rights movements, Charles Levy writes:  ‘Whether the Negro is trying to borrow a car or seduce a woman, if the White is reluctant the reason is prejudice:  You don’t want to because I’m a Negro.  The vulnerability of the White to charges of prejudice offer the Negro unlimited opportunities.’  The white girl is in the position of being considered guilty until proven innocent. . . .


“In Malimoto’s advice to the native African seeking to establish himself with a Peace Corps girl, he recommends that one ‘accuse the girl mildly of racism.’  She will turn red, then, white, and protest her innocence.  She will want to prove that even you should be her friend.  When you reach that stage of the game, quote a very English proverb:  ‘The proof of the pudding is in the eating.’  And proceed bedward.  ’The vulnerability of the White to charges of prejudice offer the Negro unlimited opportunities’” (Charles H. Stember, Sexual Racism: The Emotional Barrier to an Integrated Society, N.Y., 1978, p.185). 


Thus, for many blacks, they are on an eternal quest for sex (which is never satisfied) as a way to make up for a lack of oral fulfillment when they were young.  Blacks direct their hostility against Whites, using them as a scapegoat, instead of accepting the fact that they did not receive the love they should have received from their own parents.


Blacks are typically more aggressive than Whites, so they are good intimidators, and they have found that the charge of “racism” is an effective weapon in their arsenal.  Since they have been raised to believe that they are victims of White racism and that Whites have as a race treated them unfairly and unjustly and led the good life at their expense, they will do anything to try to even up the score.  People who have no joy cannot stand to see others have it.  I’m not saying that all blacks are this way, but most of the younger generations seem to be.


Thanks to Jewish propaganda in the media, schools, and colleges, most blacks in America believe that racism is unique to the White man.  However, one can easily find it all over the world in every country.  For example:   


“Guatemala . . . [masquerades] as a nation, more insidious and far more brutal than South Africa.  If a true Guatemalan nation is ever to be built, it must be founded on the principle that Indians and Ladinos are equal, but different.  Only in this way will the war that began in 1524 [i.e. at the invasion of Cortes and his Spanish Catholic conquistadores] be brought to a just conclusion” (Ronald Wright, Time Among the Maya, N.Y., 1989, p.256).


“The Ladinos are members (albeit junior ones) of a culture that is globally dominant, and they speak a language that links them with almost every other country in Latin America.  As in Peru, Bolivia, or Ecuador, it is hard to see how the indigenous nations trapped within these Hispanic republics can emerge and regain autonomy while the present world order endures” (Ibid., p.255).


It is ironic that those who condemn Cortes and Columbus (who came from Spain) proudly call themselves Hispanic, speak the language of their conquerors, and in most cases still cling to the religion of their conquerors.


My point is that killing the White man is not going to eradicate racism from the face of the earth or bring about a paradise.  Blacks in America should count their blessings as many nonwhites from foreign countries, including Africa, are clamoring to come here.  Why would they want to come here if this is a country dominated by White racists?


If it is any consolation to blacks, many Whites have the same psychological issues, but Whites don’t generally blame blacks for their childhood issues.  A life of sexual promiscuity and hedonism and acquiring material things can never make up for what they did not receive from their parents and will only hurt themselves and a lot of other people as well.  The solution is to grow up and move on in life rather than being destructive and blaming others for one’s problems.


As we have already noted, African music has its roots in religion, just as classical music is rooted in spirituality, so what we have is a conflict between two opposite sets of values, assuming that the dark side can be called a value.  Music can be either life-enhancing or it can be unhealthy and reduce one’s life energies and clarity of consciousness.   Forel writes:


“The commandment of sexual morality [should] . . . be:  Thou shalt do no harm willingly to any person, nor to humanity, by thy sexual appetite or acts, and thou shalt do thy utmost to promote the happiness of thy neighbor and the welfare of society” (Dr. August Forel, The Sexual Question, N.Y., n.d., p.451).


While blacks may wish to accuse nature and/or sexual morality of being racist, the fact is that voodoo African music is inherently destructive and promotes death in the human body, not life, and it is not conducive to spiritual growth.  Since blacks and Hispanics do not generally wish to live on the higher, more mature, spiritual plane as Whites, they get frustrated when society curbs their lusts, so they often react violently against Whites and/or law enforcement.  Like the liberals in society today, blacks believe that freedom equates to having a license to fulfill all the lusts of their hearts.  This, along with economic opportunity, is what makes America great.


Plato recognized that music could change character and could be used to corrupt people.  He wisely pointed out that “the only freedom which is aesthetically viable in art [which includes music] is a freedom married to self-discipline.  Otherwise freedom becomes a recipe for anarchy” (Tame, p.202).  As previously noted, music from the dark side inculcates undiscipline, hedonism, and barbarism.  However, this might appeal to primitive peoples who see it as an opportunity to take advantage of others or acquire more power and wealth and thus would want to institutionalize it as part of their religion (like the Jews have made Mammon/ materialism their religion).  As Marx wrote:


“Mammon is the God of these people . . .” (Karl Marx, A World Without Jews, 1960, p.39).


“The god of practical needs and private interest is money.  Money is the zealous one God of Israel, beside which no other God may stand” (Ibid., p.41).


Perhaps the black author, James Baldwin, was right in stating:


“All men clearly are primitive, but it can be doubted that all men are primitive in the same way; and if they are not, it can only be because, in that absolutely unassailable privacy of the soul, they do not worship the same gods” (James Baldwin, No Name in the Street, 1972).


If we wish to avoid war and conflict between the races, the best thing to do is separate the races into their own nations and/or cultures rather than establishing a police state to force everyone to get along together.  As the current “snowflake” generation in colleges have shown us, this is a conflict between grownups and children.  Whites should not be charged with racism for wanting to be morally-responsible grownups.


The Role of Music in Spirituality


Scott describes Man’s subtler (auric) bodies as follows:


1.     (a)  Physical body (composed of gross matter)

(b)  Sensation body (composed of fine matter)

2.     Emotional body (composed of still finer matter)

3.     Mental body (composed of very fine matter)


The first two bodies are placed together since they are intimately connected.


This is important to note as materialistic people only believe in what they can see.  While words are symbols which convey information, music conveys the emotional essence behind information.  The vibrations of music first strike the “sensation body,” which acts as a bridge to the more subtle bodies.  In the ancient Egyptian Mystery Schools, initiates were placed into a trance through music.  “. . . [T]he third-tone under certain conditions tended to loosen the emotional body from the physical and so induce[d] ‘astral trance.’  Through this latter he [the initiate] learned from actual experience that he was immortal . . .” (Scott, p.159).


Hippocrates, “the father of medicine,” took people to the Temple of Aesculapius to listen to music to reinstate harmony in their minds and bodies.  Paracelsus used specific musical compositions for mental, moral, and physical illnesses.  The Arabs of the 13th century had music rooms in their hospitals (Tame, p.156).  Ron Price established a program in 1988 called “Healing Harps” in which people suffering from neurological ailments and disabilities could play harps together and experience the healing power of music.  Currently, the New Mexico School of Music in Albuquerque is involved in a project to develop a music curriculum for students with autism (see “Healing Harps –- Mary DeMocker,”  However, in our materialistic age, something as intangible as music is not taken seriously by the medical system as being able to heal.  But then, medical doctors are only concerned with treating symptoms.  They are only interested in the materialistic methods of drugs and surgery rather than healing the causes of disease by normalizing healthy patterns of thought and feeling in patients.


Tame writes that music “aids . . . in the raising of the ‘vibration’ or spiritual frequency of the body itself, beginning the process of the transformation of matter into spirit and consequently returning matter to its original state” (Ibid., p.176).  While people, especially Christians, who have been infected by Gnosticism may view this as blasphemy, Lowen explains:


“Carl Jung provides us with an understanding of the relationship between spirit and body that avoids the dichotomy.  He says, ‘. . . But if we can reconcile ourselves with the mysterious truth that spirit is the living body seen from within, and the body the outer manifestation of the living spirit – the two being really one – then we can understand why it is that the attempt to transcend the present level of consciousness must give its due to the body.  We shall also see that belief in the body cannot tolerate an outlook that denies the body in the name of the spirit.’


“It is apparent from this statement that what is called the spiritual life is really the inner life of the body as opposed to the material world, which is the outer life of the body” (Lowen, Depression, p.306).


“As long as the dichotomy persists between inner and outer, or between mind and body, man will be denied the full realization of his potential as a sentient being” (Ibid., p.308).


The “Word” of God


The term “Elohim” referred to the Gods of the seven Tones (the “Word”) (Tame, p.212).  The average person is ignorant of the power of the spoken word (and sound) and therefore places limitations on his own health, life, and character through thoughtless speech.  Ancient priests were trained to guard and choose the words which they spoke at all times (Ibid., p.213).


To the ancients, the earth and the whole universe only exist by the invisible energy of the Word.  This Word is not audible sound, but is vibrational (energy) activity.  In fact, “some scientists are beginning to regard the atom as a kind of tiny musical note” (Ibid., p.219).  In his book The Symphony of Life, Donald Andrews theorizes that each atom is a key note of sound, while collections of atoms forming chords are known as molecules (Ibid., p.220). 


“As we treat the energy of the atom with great care and caution, so too do we need to handle music.  In the final analysis, we should strive to realize more fully . . . that when we deal with sound we are dealing not merely with the energies of science, not only with the art of mortal minds, but with God” (Ibid., p.247).


Since every physical body and consciousness is a manifestation of the Word, each person has the ability of sending forth the energy of the Word to all life (Ibid., p.226).  Christians, however, make the mistake of assuming that the Word only manifested itself in the flesh in the person of Jesus Christ.  The Word is not just personal but extends throughout all Creation in sound, light, atoms, and matter, whether animate or inanimate.  All matter is a manifestation, or crystallization, of the Word.  Spirit vibrations have simply become more dense and have therefore become visible (Ibid., pp. 232-233).  Astrology is simply the study of the vibrational changes due to the movements of the sun, moon, and planets which affect all life on earth (Ibid., p.234).  Those who are out of alignment are too “dense” to tune into or be aware of the harmony in the heavenly realm.  Unlike Christians who get in touch with the Creator through prayer and belief, the Tibetans do it through meditation and ritual music (sound) (Ibid.).


While Christians talk about the “Word” of God, they do not realize that the Latin word sonus which means “son” means “sound” in French (son).  Thus the Word meant both “sound” and “son” (Ibid., p.214).  “The sun itself has been described as a ‘great musical instrument’ by Dr. Martin Pomerantz of the Bartol Research Foundation, Newark, Delaware” (Ibid., p.236).  The mysterious trumpet sounds that are being heard around the world may be coming from the aurora (the plasma from the sun) (Ibid., p.242).  “It is not impossible for electromagnetism somehow to become naturally converted into audible air vibrations” (Ibid., p.243).


Light is simply a form of vibration, a rarified form of sound (i.e. in a higher state).  “Just as audible tone organizes itself naturally into the seven notes of the diatonic scale, so too does the visible solar-spectrum form the seven colors of the rainbow” (Ibid., p.221).  Unity is denoted by “pure, undifferentiated white light” (Ibid.).  The spectrum of electromagnetism consists of about 70 octaves.  Visible light only accounts for one octave (Ibid., pp. 224-225).


In the 1920s and 1930s a number of musicians constructed keyboards which played beams of color instead of musical notes (sound) onto a screen for their audience.  Some constructed keyboards emanated sound and color simultaneously (Ibid., p.223).


The U.S. Government turned to the Occult


Unfortunately, our secret government has been leading America down the same path as ancient Egypt.  Scott writes:


“As India . . . ultimately [fell] . . . because it had spiritual Wisdom but not concrete knowledge, so conversely Egypt fell because it had concrete knowledge but not spiritual wisdom.  For knowledge gives power, and power all too often engenders love of power; then comes the final step, love of personal power – in a word, selfishness with its inevitable consequence, disintegration of the community.  When each individual is trying to gain the ascendancy over his neighbor, instead of cooperate with him, how indeed can it be otherwise?” (Scott, p.163).


“. . . ‘[T]he Egyptians gave way to the grossest superstitions which at length excited universal ridicule and contempt.’  But, unfortunately, what the historian was content to term ‘superstition’ was in reality of a far more harmful nature:  it was the subjugation of occult forces for evil ends; and when a nation resorts to this its doom is inevitable” (Ibid., p.164, emphasis added).


While America is highly advanced technologically, our representatives in government have chosen to ignore or repress spirituality in the mistaken belief that they can get along fine with just their technology.


Although most Americans believe that Church and State are kept separate as a matter of government policy, there is substantial evidence that those who are in power in our government have turned to Satanism and the occult for power to succeed in extinguishing true spirituality and to establish a one world Satanic government.  Thus, those in power are attacking us in every area of life in our culture, including music.


Lyndon LaRouche writes that “rock rhythm” was copied from the old Dionysian-Satanic-Bacchic cults and is coordinated by Crowley’s followers and the OTO network in cooperation with WICCA.  African music fits nicely into this scheme.  Another writer says: “Modern electronic-rock music, inaugurated in the early 1960s, is and always has been a joint enterprise of British military intelligence and Satanic cults. . . . Both sides are intimately entwined with the biggest business in the world, the international drug trade.”  Coincidentally, many musicians have had parents who were in the military or were in military intelligence.


“. . . [O]ur intelligence agencies are operating at a very high level of OCCULT SKILL AND AWARENESS . . . In short, any Intel agent of a G20 rating is a practicing black magician entirely ‘sold out’ soul-wise . . . and are . . . black Adepts with a complete and unquestioned license to kill” (Rayelan, “The Great Dying:  The Real Reason Behind Chemtrails,” p.2, 9/15/00, hardtruth). 


“. . . [T]heir goal has to do with our souls in dimensions humanity has never, ever considered” (Ibid., p.3).


“The [U.S.] army is moving toward becoming an occult fighting force that practices witchcraft with its warfare.  Some of the units moving that direction are Psy-Op operations, which have included Satanists within its officers” (Fritz Springmeier, The Illuminati Formula used to create an Undetectable Total Mind Controlled Slave, Denver, 1996, p.325).  “Military units such as the First Earth Battalion, although they are supported by American tax dollars, are not here to protect America.  They are global-minded.  They are here to protect an occult world government” (Ibid., p.326).

“Col. John B. Alexander has been one of the more visible and prominent military men assigned to training and providing the U.S. Army some elite units of warrior-monks who can fight with both martial arts and psychic warfare.  Of course, they picked their elite mind-controlled programmed multiples for this. . . . Upper level martial arts involve the use of the occult.  The Ninji are one of the few groups who openly realize that their martial art power comes from demonic powers” (Ibid., p.314).


This explains why the government has targeted Whites, Constitutional patriots, and Christians as enemies and as a threat to “national security” since Christian spirituality is opposed to the occult, voodoo, and demonic.  Thus, it is not surprising that, as Germain writes:  “Your government gives billions in relief to help the indigent and the moron to survive, but allows its Beethovens and Leonardos to starve rather than to help them” (The Sacred Spirit Within, p.81).  Germain adds:  “Culture is dying because sensation shuns culture.  A Wagner or Mozart is worth billions, and should be nourished.  The Wagners and Mozarts of today can be found trying to survive by playing in night clubs or selling vacuum cleaners” (Violinio Germain and Gyeorgos Ceres Hatonn, I And My Father Are One, Tehachapi, 1991, p.162).


Today, most young people’s musical tastes have been so warped and jaded that they aren’t generally interested at all in living in a spiritual culture led by Wagners and Mozarts.  Most nonwhites prefer jazz, rock, rap, etc. to classical or easy listening music, the latter of which they denigrate as “elevator music.”  The music played in elevators is meant, of course, to soothe anxiety at being cooped up in an enclosed space.  Loud music with a beat is a stimulant, and soft music is a relaxant.


Nonwhites should support and work with Whites who want to obey the laws of nature, not condemn Whites for being racist for it.  The fact that more blacks and Hispanics are in prison than Whites only means that Whites are more law-abiding and stay out of trouble.  Nature has decreed that sound can be constructive or destructive, healing or injuring, and it can irritate or raise the spiritual frequency of one’s body or lower it.  That the ancient Chinese preferred using music as a positive force rather than a negative proves that Whites are not unique in wanting music to develop spiritually and/or live in harmony with nature, so Whites should not be charged with racism just because they reject African music and/or music from the dark side whose goal is sensualism and immorality.


Benjamin Franklin warned:  “Only a virtuous people are capable of freedom.  As nations become corrupt and vicious, they have more need of masters.” 


Suggested Music to Listen to – A few of my Favorites


“Ray Conniff – Too Young (HD) (CC)” (YouTube: 2:43 min.)

“The Lettermen – Theme from a Summer Place” (7/28/11) (YouTube: 2:01 min.)

“Green Leaves of Summer Brothers Four” (7/10/09) (YouTube: 2:54 min.)

“James Last – Biscaya 1981” (YouTube: 3:53 min.)

“Look For a Star (Circus of Horrors Theme) – Tony Hatch” (7/19/09) (YouTube: 2:14 min.)

“Johnny Pearson – Sleepy Shores 1972” (YouTube: 3:06 min.)

“Franz Liszt – Liebestraum – Love Dream” (YouTube: 5:50 min.)

“Alain Morosod -- Barcarolle” (YouTube: 4:59 min.)

“Chronos – The Lonely Shepherd – George Zamfir and James Last” (YouTube: 4:23 min.)

“Montovani And His Orchestra – Charmaine (1958)” (YouTube: 3:07 min.)

“Roger Williams Theme from Somewhere in Time 1980” (YouTube: 3:22 min.)

“Perry Como -- And I Love You So [HQ Audio]” (YouTube: 3:16 min.)