We are swimming in a designer ocean of drastically declining quality. Everywhere we walk and stand, in everything we surround ourselves with – even if we are quality conscious and make special choices – we are exposed to poor quality.
The remarkable thing is that it is not just a statement from a grumpy old asshole who longs for a bygone era and overall seems to think that the world has come to an end. Which of course it has. The question is: are we getting dumber by watching dumb television and listening to dumb music? Of course we do!
Let’s concentrate on music today, specifically pop music.
Thorough and methodical studies have been made of pop music from the 1960s to the present day, which show that the music in the supergenre itself has become bad. And it is not a subjective assessment, because analyzes have been carried out with a large amount of material measured on all the parameters that characterize musical creativity and its output, which show that there has been a significant reduction of the creative spectrum.
Let it be said so that it cannot be misunderstood: the undersigned has heard oceans of pop music, jazz music, ethno music alongside classical music. And even though I have a career behind me as a musician, composer, singer, teacher and dancer, which I also count as music in motion, and even though I have education behind it, among other things. in musicology, so I have no snob preferences when it comes to quality assessment of music. Anything goes, just not bad music! That classification as good and bad is not just subjective, personal taste = I resonnate with it or not – will hopefully be apparent from the following.
It may well become quite technical to explain it, but a concept such as timbre, in English timbre, has undergone a blunting, so that there are significantly fewer timbres, timbre depth and timbre differentiation. The Beatle’s Sergeant Pepper, for example, is not such a piece of classical music with the enormous spectrum of a symphony orchestra, but the range of sounds found in the album, which can still be called a pop musical masterpiece, is quite formidable. Compare that to the spectrum of timbre found in the best-selling pop boys and chicks today, and they’ll be operating within a tiny fraction of the spectrum. One of several reasons is that the industry runs in a constant loudness competition to burn through the sound barrier, where all nuances are washed out by overcompression. Another reason is that the music is produced in studios with the same machines operated by very few people with a synthesizer rack, often digital, unlike the example of Sgt. Pepper, where a full symphony orchestra was invited to the studio in turn, and where the full range of acoustic instruments was combined with the semi-electronic band instruments.
Not surprisingly, the lix number in pop lyrics has dropped drastically. If you are on the lookout, you can find a counter-trend of pop lyrics that can almost be published as collections of poems, but the large, massive mainstream field consists of lyrics that place themselves on the part of the scale where it says dumb-dumber-dumbest. And although there is a majority of pop lyrics dealing with love/eroticism, even that limited subject field is reduced to fuck me, fuck me, and fuck me again. The entire verbal and visual universe of pop music is reduced to overheated genitalia. An examination of the source of pop lyrics for the bestsellers reveals that there are a handful of pre-ordered lyricists that virtually everyone uses and that can deliver the goods in the form of low-brow designer mediocrity.
The melodic formulas of a pop song are violently reduced to a set of recognizable formulas that are repeated beyond the point of nausea. ‘The millenneal whoop’ is a primitive tone sequence consisting of 5-3-5 steps of the major scale, and you find it in thousands and thousands of pop tracks spewed out by the industry.
In a pop song there is often a catch phrase, perhaps in the form of a chorus that follows a verse. But the rate at which the chorus/catch phrase arrives is reduced and the frequency of occurrence is multiplied. The audience has thus become accustomed to a lower attention span, they must have the climax here-and-now and all the time. There’s no suspense in the music anymore, no real built-up orgasm, just knocking it off with quick release – to now stay in the hyper-erotized conceptual world of the genre. The human experience apparatus may like something it already knows, but this feature of the brain and senses has been misused to de-creativize, blunt, straighten and repeat music solely to profit from recognizability.
A systematic reduction of need satisfaction has created a music-consuming generation with an experience brain like a 4-year-old child. I’m a Barbie Girl, I’m a Barbie Boy … and we all live in a Barbie World (not a Yellow Submarine).
In the 1960s, it was still left to the public’s judgment whether a pop band, album or song caught on. If there was no substance in the song, it slipped into eternal and well-deserved oblivion. Not so anymore. Via the media-fascist, monopolized distribution apparatus, the industry ensures that the audience is brainwashed into liking and consuming a music track, even if it is basically unbearable. It sounded like hell the first time, but it was just there all the time and all the time and everywhere. And all the friends had agreed to love it, so you then did that for social acceptance. It has a term: IT’S BRAIN WASHING!
The music is designed by the industry to brainwash you into digesting the indigestible, swallowing the inedible. It has gotten you used to eating shit.
In both sound and visual form, pop music has – not surprisingly if you have studied megatrends for social control – moved in the direction of transhumanism, the robotification/dehumanisation of man. The overuse of AutoTune software has given access to totally talentless people who can’t hit the note cleanly, but just meet certain other criteria. They are particularly young and beautiful, they have a good ass and can pose with the camera, they can be made to appeal to the potential buying segment, and they have such a suitably weak psychological immune system that they can be shaped by the industry. They fulfill the narcissist criteria. They may even, as wannabes, be willing to expose themselves to the industry’s ultimate depravity: pedophilia. They’ve screwed themselves over on the road to five minutes of fame.
If you first go down that road as a wannabe, then there is no turning back. To be exposed to – to allow oneself to be exposed to such things is one of the most destructive things known to man.
Without a sense of humor
The transhumanized robot music is completely humorless. Humor is a special human trait. Neither animals, angels nor gray aliens have a sense of humor. Animals can be playful, sweet, fiercely sympathetic, hypersensitive and even intelligent, but humor is a special distance that they do not have. Try telling a joke to a grizzly bear before it pelts you. Who ever heard or read that Archangel Gabriel cracked a liberating joke? What alien abduction victim has ever joked with their abductors? There is no twinkle in the eye here, no humanity. Mainstream pop music is surprisingly devoid of humor.
Combine that with unintelligence and talentlessness. C’mon Beyoncé, Bieber, Timberlake, throw away your techno crutches, get up in front of an intimate audience without a mic and lights and sound show and touch their hearts. Do you dare? Perhaps one of the three mentioned could do it, for they are, after all, the pinnacle of pop, but what about the entire field of art products, the 10,000s of bouncy balls that have abandoned all artistic ambition and integrity to become an industrial product? They would immediately fall through. The otherwise totally fucked-up Lady Gaga braved the fur for a while and performed as a jazz singer alongside none other than Tony Bennett. Respect for that, but of course afterwards, like the admitted rape victim that she is, she goes on her depraved Illuminati trip again.
Even talented voice equilibrists like Mariah Carey and a stylish performance talent like George Michael are caught with their pants down on occasions in using playback for live performances. Genuine talents who would never do it – Prince for example. – has, in turn, been persecuted and ultimately executed. It is now officially admitted that Prince was exposed to an overdose of the world’s strongest pain-killer without his knowledge! – but all investigation into the case is strangely prevented and omitted! NB! At the end of his life, Prince was very explicit about issues that the global fascists did not care about. Same with Michael Jackson?
The performing pop artists are exposed to the same thing as what their audience is exposed to through them. They export the abuses they themselves have been subjected to. They are now executioners who were themselves victims before they became executioners.
Blunted stupidity paves the way for every imaginable evil. Via poor quality, the psychological immune defenses of consumers/addicts of blunted pop culture are systematically broken down. The way is then paved for a secondary invasion by various elements that can only be described as satanic. Forget everything about the heavy boys, who have otherwise faced the outrage of the new evangelical Christians for their symbolism of death, they are often quite harmless, they just like to push it off. The real satanic is found in the thoroughly pornified, genderless, twerking LGBT designer pop and its verbal-visual overload of Ka-Baal-ism, semi-pedophilia, cannibalism, occult symbolism garbage, vampirism and other good things from the sea.
In addition to the blunting of the audience’s ability to perceive sophisticated musical expressions, a conveyor belt has been established for all forms of cultural depravity and perversion. The music industry thus enters into character and is included as part of the great Liberal Project, which must destroy (they call it freeing from…) the human with ambiguous sexuality, Music videos are overpopulated by hordes of transhuman gender monsters, who knock all decency out of its audience. In Beyoncé’s, Madonna’s, Lady Gaga’s, Katy Perry’s and Miley Cyrus’ pictorial worlds, the beglomer, the voyeur enters a witch’s sabbath of obscene depravity filled with satanic-kabbalistic consciousness-transforming death symbolism.
The cultural Marxists knew it: the depraved man is defenseless against any attack and abuse. That is why Herbert Marcuse called it subversive perversion. Depraved Perversion was a devised and described weapon of mass destruction to destroy Western Civilization. It appears as a punk culture with punk’s main statement: We don’t know what we want, but we know how to get it. Criticism is philosophy, they said. They were good at criticizing what they despised, but they did not possess the shadow of self-criticism, and they had no idea where their own ideology came from and for what purpose – other than to destroy.
Revolution, dekonstruktion, distorsion, disruption – fire udtryk, der er introduceret i nævnte rækkefølge. De beskriver en historik og viser kontinuiteten i et overordnet ødelæggelsesprojekt. Historikken er ca. 300 år.
Revolution is an expression from the 18th century that means directly: to drive backwards (re-volvo). What did they drive back to? To the ancient slave society in a new version only with new slave traders and plantation owners.
Deconstruction is an aesthetic-philosophical expression from modernism that describes how everything old is taken apart anew and reassembled again simply with new designers behind the assembly project. There was an agenda behind it: to interrupt the continuity of all tradition and replace it with an artificial pseudo-tradition without history.
Distortion and disruption are two terms from the last decade’s ideological urge for destruction. The inhabitants of Inner Copenhagen and the bridge neighborhoods have – apart from the consumers of the cult of destruction – come to hate the annual noise, waste and vomit hell populated by a zombified youth called by what it does: Distortion. Distortion, disturbance. And we just have to promise that…
Disruption is a more high-brow term that is currently abounding in management, coaching and HR management circles. It means interruption. It can then mean the interruption of various ills that the management culture is full of, which in that case can be most needed. But it can also mean disruption of traditions, forms of government that work, values based on old human principles, innovation for the sake of innovation = disruption and destruction. A good bet is that it means the latter.
The musical witches’ sabbath, the rave party, the Disruption festival, the Goa party, the Roskilde mud are temples for the cult of indulgence and destruction that has formed around designer pop. Behind the designer screen lie miles of neurological and behavioral studies on crowd control and collective brainwashing. The flock is not even sheep anymore, it is a school of fish, an anthill, a flock of starlings. Yes far be, because the flock of starlings has an autonomous collective consciousness when it performs the artwork Black Sun every year at gathering time. The Human Crowd is no longer autonomous, because it is completely controlled based on designer criteria, and should there still be a remnant of autonomy, it is because the behavior of the crowd is still a target of social studies (Frankfurt School) with a view to total control in a near future.
Coming to a crowd near you.
The musical depth bomb – philosophical perspective
Pop music is a social-psychological-neurological experiment and part of the 20th century Human Experiment. Well what did I say right there and, you may be asking yourself, isn’t music just random entertainment and thus a skating rink on the surface of human culture and consciousness? If that is your question, then you are completely wrong.
In the sciences of antiquity, music was considered the second highest step in the scientific hierarchy called the quadrivium. Mathematics was considered the foundation for the understanding of number relationships. Geometry was the understanding of numbers applied to space. Music was the application of numbers applied to time. Astronomy was the application of numbers in both space and time.
One may ask what is meant by the term time. A tone consists of oscillation frequency, which we today measure in hz (herz) = oscillations per second. second.. Rhythm is delayed frequency and form is further delayed frequency. But here a field of secrets opens up. Light is also frequency measured within a spectrum from infrared to ultraviolet. If one goes in the opposite direction and calculates in cosmic cycles, then the frequency of the planets for their own rotation and rotation in relation to a solar system is a fractal upscaling of frequency. If you scale up to galactic frequencies, you go up another level. And if you think about the almost unthinkable: universal/cosmic frequencies, then we end up with dizzying frequencies.
So audible frequencies or simply: frequencies are one of the basic principles of the universe. Everything is frequency, everything is sound. The old music theorists from the Middle Ages spoke of the Harmony of the Spheres, and harmony must be understood in a Pythagorean way as harmonically tuned oscillatory conditions. Boethius wrote about Musica Mundana, World Music. The human music, Musica Humana, should, by recommendation, be attuned to the cosmic music. As above, so below. The same principles were important to ancient architects. The cosmic proportions were to apply to the earthly proportions.
And what does it matter what a bunch of learned monks in the Middle Ages thought about what a bunch of dusty ancient philosophers thought?
If it doesn’t concern us, then it doesn’t concern us, but then we just have to make ourselves clear that we are thereby cutting ourselves off from a knowledge of what basically creates us as people who are created in a Universe. You, dear reader, and I don’t care, because that is the crucial question for us as humans.
A key to understanding sound, music and its meaning for us is the English word sound. In addition to sound, it also means healthy as in health. The music anthropologist Franz Berliner redefined the anthropological concept of culture for music by saying:
Music is humanly organized sound.
Music is soundly organized humanity.
So music is sound that is organized by people. We all understand that. But music is also humanity and a humanly responsive society organized in a healthy way. We should all understand that, but unfortunately there aren’t that many who understand in times when both human society and music are organized in a decidedly unhealthy way. We no longer know the ancient and original societies’ ways of living in health anymore, because we have for a number of generations become accustomed to step-by-step-by-step living in disharmony and unhealthiness.
We as humans do not live in harmony with our natural origins. We therefore do not live in harmony with each other either. We live in a state of disharmony imposed on us by a global ruling class whose existence depends on disharmony, strife and division. In other words, poor quality and poor music.
Designer pop – a cultural weapon of mass destruction
That was the title and that will be the conclusion.
Pop music = the most heard music with the greatest degree of influence for the greatest number of people – has been copped to exert a creep on human creativity so that we eat crap with our ears. Both performers and audience have been snuck up on.
Blunted music gives blunted listeners with blunted consciousness and human capacity.
Dumb listeners demand dumb music to confirm their dumbness.