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  • Re: Music As Psychological Warfare (was : The Race of the Fleeing Man)

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  • tlefranc10
    May 26
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    "Could the use of drums in these matriarchal and orgiastic cults be explained by the fact that the heartbeat of his mother is the first sound a foetus can hear ?"

    I believe it may be one explanation. Although it does not directly refer to this particular fact, this article, "Drums: Heartbeat of Mother Earth", is of interest: http://www.nativepeoples.com/Native-Peoples/July-August-2009/Drums-Heartbeat-of-Mother-Earth/ It seems "primitive" peoples consider the drum beat as an extension of their own heart beat and that of the Earth.

    Further on the symbolical plane, as a drum usually has a rounded shape, it may represent a woman, the Earth and the moon. The hand beating the drum, or the stick used, may represent the virile member and, thus, beating the drum may mean, among "primitive" peoples, the act of sexual generation. On a more practical plane, a regular drum beat has a hypnotic effect. This is probably a reason why drums are used a lot by "psychic mediums" and the like who are increasingly numerous in the West.

    However, I maintain that a drum used in a traditional European orchestra does not carry such negative meanings and effects.

    Rouesolaire, I did not know there was "templar music", which is rather wearisome to listen to, to be honest. Fortunately, we do not have to go back to such a remote time to find "decent" music. I have a knowledge of French and German "traditional" music. Here are a few tracks worth listening to:
    http://www.youtube.com/watch?v=PWqOVRhBldU (most Landsknechte songs are excellent)
    http://www.youtube.com/watch?v=75oM6gTVRYM
    http://www.youtube.com/watch?v=74DDwHweRB4
    http://www.youtube.com/watch?v=IXH3QJrx98U
    http://www.youtube.com/watch?v=09gRYDsVsLQ
    http://www.youtube.com/watch?v=G9sVcRxopJU

    The first song was the hymn till 2011 of the Front National de la Jeunesse. Now, their hymn is "Le chant du départ", a revolutionary song written in 1794, but which ended up being sung by soldiers during several wars.

    Thanks for pointing out that Presley had Jewish origins.

    Here is a book which reviews what French "occultists" said on music from 1750 to 1950: http://www.balderexlibris.com/index.php?post/Godwin-Joscelyn-Music-and-the-Occult-French-Musical-Philosophies
    "Occultists" have been uttering a lot of nonsense but, from time to time, they are quite right.

    --- In evola_as_he_is@yahoogroups.com, "Evola" <evola_as_he_is@...> wrote:
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    > White fans of rock'n'roll and the like need to ease their conscience.
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    > Aristotle (1. viii. de Republ.) said : "Every kind of music is good for something : that of the theatres is necessary for the amusement of the mob, being well suited to the perversion of their minds and manners ; and let them enjoy it..." In speaking of the vices of London, a XVIIth century Scottish writer had these words, which are singularly reminiscent of Mayer Amschel Rothschild's famous saying on money : "That were a man permitted to make all the ballads of a nation, he needed not care who should make its laws." (in The History of Ancient Greece, Its Colonies, and Conquests, Volume 4, p. 235)
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    > War and music are connected in some peoples. For example, the Scots were known for using bagpipes on the battlefield, to strike terrors into the hearts of their adversaries (the bagpipe is "unquestionably of Arabic origin", The Foreign Quarterly Review, Volume 24, p. 206 ; see also E.J. Brill's First Encyclopaedia of Islam, 1913-1936, Volume 5, p. 541)
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    > This is not all. The processions of the Galli, the Great Mother's priests, were, as mentioned by Pindar (Dithyr. II), accompanied by loud music, clashing cymbals, and pounding drums ("The Great Mother was always worshipped in Crete with the sound of cymbals, drums, and other loud music ; which custom Apollonius dates from the time of the Argonauts (…)", `The Argonautica' of Apollonius Rhodius, G. Bell, 1889, p. 42), which, on the other hand, were unknown to Homer's age. The Dactyles, to whom Plutarch ascribes the teaching of music instruments to Greeks, were the first priests of Cybele.
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    > Could the use of drums in these matriarchal and orgiastic cults be explained by the fact that the heartbeat of his mother is the first sound a foetus can hear ? If so, it would have regressive effects.
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    > --- In evola_as_he_is@yahoogroups.com, "tlefranc10" <tlefranc10@> wrote:
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    > > http://fascismefun.wordpress.com/2012/10/12/une-frequence-sonore-pour-chaque-race-lexemple-des-basses/ is interesting but the author makes a major mistake when he says that "rock and metal music is of White origin" and opposes it to "jazz" and "funk" music. The author quotes Evola but does not seem to have heard of his three-level race theory: even if Elvis "The Pelvis" Presley had white skin, he had no Aryan soul and spirit. The link which is established between Wagner's music and "beat" music is also dubious. Drums only add intensity, which can be given a higher meaning or an inferior one. However, if one takes the case of Prussian military music from the eighteenth century on, it is true drums were incorporated only later, say the second half of the nineteenth century. Romanticism and Wagner perhaps played a role there.
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    > > By the way, does someone know a good history of music among the ancient peoples of Aryan descent? It would be necessary in order to do a comparison with today's music, as music had thoroughly different functions.
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    > > I believe the ancient peoples of Aryan descent originally strongly associated music with war. There was a myth in Ancient Greece which said the Dactylian people, who would have flourished around 1000 BC, discovered steel mines in the Mount Ida in Crete and forged weapons with the steel they had extracted. It is from the sounds of the swords on the shields that poetry and music, both instrumental and singing, would have been created. Later, Greek warriors used to sing the pean before and after battles. Plato wrote it was the noblest song he had ever listened to. He also did not like the fact that, during his own time, music had started degenerating and had become a means to give pleasure.
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    > > --- In evola_as_he_is@yahoogroups.com, "G. van der Heide" <g.vdheide@> wrote:
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    > > > Certainly. Any other texts that are read-worthy?
    > > > In passing I will mention http://fascismefun.wordpress.com/2012/10/12/une-frequence-sonore-pour-chaque-race-lexemple-des-basses/ which points to obvious modern day examples citing Evola's L'Arco et la Clava in the process. Obviously the effects of "rock music" are downplayed in today's nationalist circles.
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    > > > To: evola_as_he_is@yahoogroups.com
    > > > From: evola_as_he_is@
    > > > Date: Thu, 23 May 2013 16:30:26 +0000
    > > > Subject: [evola_as_he_is] Music As Psychological Warfare (was : The Race of the Fleeing Man)
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    > > > A summary, freed from those errors, of all the major texts on the subject would be worth making.
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    > > > --- In evola_as_he_is@yahoogroups.com, "G. van der Heide" <g.vdheide@> wrote:
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    > > > > This concerns mostly spelling errors or misnamings and chronological errors. Serious enough to discredit a text that contains otherwise worthwhile considerations.
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    > > > > To: evola_as_he_is@yahoogroups.com
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    > > > > From: evola_as_he_is@
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    > > > > Date: Thu, 23 May 2013 05:50:14 +0000
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    > > > > Subject: [evola_as_he_is] Re: The Race of the Fleeing Man
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    > > > > Could you please point at the most serious ones ?
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    > > > > --- In evola_as_he_is@yahoogroups.com, "G. van der Heide" <g.vdheide@> wrote:
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    > > > > > Most generally speaking we might agree with Regimbald, but the book contains some serious errors. And this goes for most texts on the subject.
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    > > > > > Far from being perfect, but still useful:
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    > > > > > http://www.scribd.com/doc/8769443/The-Controllers-of-Art
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    > > > > > http://www.scribd.com/doc/75554874/INSIDE-the-LC-Laurel-Canyon-and-the-Birth-of-the-Hippie-Generation
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    > > > > > http://www.theoccidentalobserver.net/authors/Whitcombe-Woodstock.html
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    > > > > > To: evola_as_he_is@yahoogroups.com
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    > > > > > From: g.vdheide@
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    > > > > > Date: Wed, 22 May 2013 21:25:34 +0200
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    > > > > > Subject: RE: [evola_as_he_is] Re: The Race of the Fleeing Man
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    > > > > > "It seems the recording companies which promoted and sold the music were
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    > > > > > owned by subversive organizations such as the wicca cult."
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    > > > > > While not refuting your preceding notions, this sounds extremely uninformed.
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    > > > > > To: evola_as_he_is@yahoogroups.com
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    > > > > > From: tlefranc10@
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    > > > > > Date: Tue, 21 May 2013 17:31:30 +0000
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    > > > > > Subject: [evola_as_he_is] Re: The Race of the Fleeing Man
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    > > > > > As good as this essay is, it is not up-to-date, as it was written about fifty years ago. The race of the fleeing man has kept evolving and new depths of irresponsibility and immaturity have been reached, especially among the members of the younger generations. One may wonder up to what point all this will end: each generation is worse than the one which gave birth to it.
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    > > > > > The dispositions of that race have been reinforced through the use by the subversive forces of various tools, including music. Evola devoted some time analyzing "American" music, such as "jazz" and some forms of "beat" music. He particularly focused on their non-White origins. However, the rise of "modern music", initiated in the 1950's with the "rock and roll revolution", could be considered in a larger picture, as part of the occult war. "Rock and roll", which means "to have sex" in Negro slang, has been at the root of a major cultural revolution promoting various subversive elements: a revolt against authority, general slackness, sexual promiscuity, internationalism, etc. As a phenomenon which has had significant dissolving effects on the minds of people worldwide, it must have been engineered, at least to some extent, as have been most modern revolutions.
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    > > > > > French Canadian author J-P Regimbal thoroughly analyzed "rock and roll" as a subversive music causing both physical and psychological damage and leading to a reduced state of consciousness (http://www.histoireebook.com/public/ebook/Regimbald_Jean-Paul_-_Le_Rock_N_Roll_Viol_de_la_conscience_par_les_messages_subliminaux.zip). It appears it is loaded with elements which are more occult. For example, "rock and roll" songs contain numerous subliminal messages and a number of "stars" were ardent spiritualists who composed their "songs" during a state of trance. It seems the recording companies which promoted and sold the music were owned by subversive organizations such as the wicca cult.
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    > > > > > --- In evola_as_he_is@yahoogroups.com, "Evola" <evola_as_he_is@> wrote:
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    > > > > > > Following 'Youth, Beats and Right-Wing Anarchists', a second essay from 'L'Arco e la Clava' has been published at http://thompkins_cariou.tripod.com/
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    > > > > > > It is clear that "`The Race of the Fleeing Man' is terribly topical". In the short introduction to it, the reader will come across statements by J. Evola taken from 'The Road of Cinnabar' that are more or less at odds with its American translation, published as 'The Path of Cinnabar : An Intellectual Autobiography' : whatever mistakes were made in this translation were corrected.
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