The effects of music on society have been observed since ancient Greece. Aristotle remarked:
Any musical innovation is full of danger to the whole state, and ought to be prohibited . . . when modes of music change, the
fundamental laws of the state always change with them.[406]
Similarly, Plato recognised the power of music for good and evil, writing:
And that, my dear Glaucon, is why this stage of education [i.e. music] is crucial. For rhythm and harmony penetrate deeply into the mind and take a most powerful hold on it, and if education is good, bring and impart grace and beauty, if it is bad, the reverse . . .[407]
Music, sex, and drugs were — and are — the basis of the Establishment contrived ‘anti-Establishment’ counterculture dialectic. Plato observed that aesthetics, in both music and the visual arts could have profound effects for both good and ill. The Establishment-created counterculture represents the negative side of aesthetics, as Plato defines it. It seems apparent for anyone reading Book III of The Republic that this has served as one of the blueprints for the creation of a nihilistic aesthetic to destroy the traditional social order.
The influence of music on the mind was one of the interests of early German and American psychology.[408] Charles M. Diserens, an early
on Behavior’ (1922), which stated:
Our purpose then is to study the influence of music on the organism. We approach music from the practical rather than the aesthetic standpoint, regarding it as a necessity, a possible means of re-education and human reconstruction for all, rather than a mere subject of unproductive pleasure, or an object for criticism from the learned few.[409]
The World Controllers soon sponsored studies into the effects of music as a means of social control.
The Radio Project — Rockefeller Funded Research into Mind Manipulation
With music as a weapon for social control there is a convergence of Leftist academics drawn from the Frankfurt School and the globalist elite.
The Radio Project was an early study in mind manipulation, established in 1937 at Princeton University with funds from the Rockefeller Foundation. The purpose was to investigate the effects of the new forms of mass media on society, with emphasis on radio. The head of the Project was Paul Lazarsfeld, an Austrian socialist[410] who
had been brought to the US as a Rockefeller Foundation Fellow,[411] and
became one of the most influential social scientists in America; the founder of ‘public opinion research.’ In 1934 Lazarsfeld established the University of Newark Research Center, which undertook research for the New Deal programs, the public education system and the Frankfurt Institute.[412] Lazarsfeld was concerned with applying psychology to
social and economic issues. One of the institutes he established was the Office of Radio Research at Princeton University:
The Lazarsfeld radio research project virtually created the field of mass communications research. It studied why messages are
introduced into the media and why people attend to them — that is, what gratifications or rewards people get from the media and what functions the media serve in their lives. Lazarsfeld’s influence on the field outlived him. In the mid-1980s the directors of social research of the nation’s three largest networks — CBS, ABC, and NBC[413] — were all former students of Lazarsfeld.
In 1939 the Rockefeller Foundation radio research grant was transferred from Princeton to Columbia University, where Lazarsfeld became a professor of sociology. In 1944 the Office of Radio Research was renamed the Bureau of Applied Social Research,[414] which became in the 1950s and 1960s the leading
university-based social research institute in the United States.[415]
The Frankfurt School’s Theodor Adorno[416] was one of the major
research scientists employed by the Radio Project. Adorno was director of the project’s Music Division. His research was nicknamed ‘The Little Annie Project,’ and examined the emotional reactions of listeners to characters and scenes, so that a scriptwriter could influence the response in an audience. Adorno described addiction to music as similar to other forms of addiction and as a means for the socialisation of the individual into a mass.
It was Max Horkheimer, head of the Frankfurt Institute, and part of the Frankfurter coterie that had been brought to the US from Germany by the Rockefeller Foundation and the New School for Social Research, who in 1938 arranged a job for Adorno at the Princeton Radio Project.[417] Adorno initially promoted the atonal, psychologically
disruptive music of Arnold Schoenberg, but later conceded that revolutionary indoctrination could only occur on a mass level with the use of ‘standardised’ repetitive music, and by 1960 had stopped criticising pop music.[418]
it still does in shaping attitudes. Like the sentiments expressed by Leary the LSD guru and by Dr. Bancroft of the Kinsey Institute that narcotics and sex have revolutionary, subversive implications, musicians have expressed the same sentiments as to the political role of music. To quote:
[Our music is intended] to change one set of values to another . . . free minds . . . free dope . . . free bodies . . . free music. (Paul Kantner, Jefferson Airplane)[419]
Pop music is the mass medium for conditioning the way people think. (Graham Nash of Crosby Stills & Nash)[420]
Atmospheres are going to come through music, because the 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 the subconscious what we want to say . . . People want release any kind of way nowadays. The idea is to release in the proper form. Then they’ll feel like going into another world, a clearer world. The music flows from the air; that’s why I connect with a spirit, and when they come down off this natural high, they see clearer, feel different things . . . (Jimi Hendrix)[421]
Rock music has got the same message as before. It is anti- religious, anti-nationalistic and anti-morality. But now I understand what you have to do. You have to put the message across with a little honey on it. (John Lennon)[422]
Rock ’n’ roll is pagan and primitive, and very jungle, and that’s how it should be! The moment it stops being those things, it’s dead . . . the true meaning of rock . . . is sex, subversion and style.
(Malcolm McLaren)[423]
Jerry Rubin, co-founder of the Youth International Party ( Yippies) with Abbie Hoffman, these two being among the primary agitators of the
New Left, stated explicitly the basis of the New Left as combining the three components we have been considering: sex, drugs, music:
Rock ’n’ roll marked the beginning of the revolution. . . . We’ve combined youth, music, sex, drugs, and rebellion with treason, and that’s a combination hard to beat.[424]