Great article of lengthy conspiracy music rant c/o Kook Science Resistance on Tumblr:
This article details events in musical history that are central to understanding and treating modern psychopathology, social aggression, political corruption, genetic dysfunction, and cross-cultural degeneration of traditional values risking life on earth.Â This history concerns A=440Hz â€œstandard tuning,â€ and the Rockefeller Foundationâ€™s military commercialization of music. The monopolization of the music industry features this imposed frequency that is â€œherdingâ€ populations into greater aggression, psychosocial agitation, and emotional distress predisposing people to physical illnesses and financial impositions profiting the agents, agencies,Â and companies engaged in the monopoly.Â Alternatively, the most natural, instinctively attractive, A=444Hz (C5=528Hz) frequency that is most vividly displayed botanically has been suppressed. That is, the â€œgood vibrationsâ€ that the plant kingdom obviously broadcasts in its greenish-yellow display, remedial to emotional distress, social aggression, and more, has been musically censored. Thus, a musical revolution is needed to advance world health and peace, and has already begun with musicians retuning their instruments to perform optimally, impact audiences beneficially, and restore integrity to the performing arts and sciences. Music makers are thus urged to communicate and debate these facts, condemn the militarization of music that has been secretly administered, and retune instruments and voices to frequencies most sustaining and healing.
Analyzing the antecedents of current geopolitics and economics, this dirty fact of musical history may be foundational to the status-quo, and instrumental to contemporary sociocultural crises, including modern pandemic psychopathology.
Throughout history there have been persons of wealth and power engaged in war-making, profiteering, and various methods of population control. In 1770, for instance, Mayer Amschel Bauer (a.k.a., Rothschild) developed plans for the creation of the Illuminati, advancing the mission of global domination through a network of central banks that his family and their silent partners controlled. Many reputable authors track todayâ€™s degenerative socioeconomic trends, and aboriginal genocides, to the Illuminatiâ€™s powerful influence administered through private organizations controlling multi-national corporations and governments (i.e., secret societies and governing councils, such as the Council on Foreign Relations).(6-15)
Between World Wars I and II, accelerating during the 1930s, scientific studies in musical frequencies best suited for war-making were funded by the Rothschild-Rockefeller alliance, represented by the Rockefeller Foundation and U.S. Navy.(8-11)
A major objective of this war, and profitable population control, research was to determine the musical factors capable of producing psychopathology, emotional distress, and â€œmass hysteria.â€
Burris-Meyer is best known for providing consulting services to the Muzak Corporation, â€œwhich used his expertise to optimize sound installations in factories so that emotional motivation of workers achieved through music would not be adversely effected by factory noise . . ,â€ wrote James Tobias, a Professor of English at the Univ. of Calif.(8)
Tobias reviewed Rockefeller Foundation (RF) archives, and documented investigations leading to psychological warfare applications of acoustic vibrations, ultimately advanced militarily and commercially.
According to Tobias, Burris-Meyer became convinced that â€œaudio control of human emotions was possible for a large enough portion of an audience to provide effective crowd control â€“ a line of research,â€ that John Marshall, â€œultimately found irrelevant for understanding the artistic or cultural values of music. . . . â€ but obviously fulfilled a military objective.
This best explains why this activity is linked in time, subject matter, Foundation funding, and the Rothschild-Rockefeller increasing war investments in Germany, Great Britain, and the US, to establishing the Western Worldâ€™s standard musical tuning of A=440Hz frequency.
In 1910, motivated by a grant provided by the Rockefeller Foundation for the American Federation of Musicians, the initial effort to institute A=440Hz standard tuning had limited success in America. In Europe, the initial effort had near zero impact. Additional promotions were needed to secure the music worldâ€™s acceptance of A=440Hz that was perceived as less pleasant, or dull when compared with other frequencies described below.
Ironically, and most revealing about the Anglo-American cartel arrangement, to persuade European musicians to accept this tuning, and the British Standards Institute (BSI) adoption of it in 1939, Rockefeller-Rothschild â€œblack-opâ€ officials employed Nazi party propagandist, Joseph Goebbels. At that time, Goebbels was advancing to become Englandâ€™s greatest media nemesis.
Lynn Cavanagh reviewed the history of standard musical tuning and determined that contrary to propaganda, and current consensus, it was 1939, not 1938, as the true year the British Standards Institute (BSI) adopted the A=440Hz standard promoted by the Rockefeller-Nazi consortium.(16) At the time, England was about to declare war with Germany, so surely MI6 would have known of Rockefellerâ€™s alliance with IG Farben, the Standard Oil Companyâ€™s fueling of Hitlerâ€™s military build-up against Poland, and the funding of Hitler by the Rothschild-Rockefeller-Warburg family bankers backing IG Farben and the Naziâ€™s as partners in their emerging genocide.
In other words, the A=440Hz frequency was instituted at the precise time WWII preparations were being finalized by the petrochemical-pharmaceutical war financiers. Hitlerâ€™s Germany invaded Poland officially starting WWII on Sept 1, 1939. Only three months earlier, following widespread rejection of the A=440Hz frequency vibration by musicians worldwide, Nazi propaganda minister Joseph Goebbels argued on behalf of this, apparently very important, intrusion into musical artistry, effectively persuading Hitlerâ€™s supposed enemies in Britain to adopt this allegedly superior standard tuning for the â€œMaster Race.â€