The likelihood that the Tavistock Institute was heavily involved in the rock and roll music movement is high. There is even a theory advanced by former MI6 agent John Coleman that Theodor Adorno wrote the lyrics for the Beatles and other British invasion bands. There’s not much evidence to support that aspect of the plot, but Adorno did try to influence and contaminate music.
Therefore, Adorno very well could have been one of the brains behind rock and roll. “Driven Mad” is taken from Tavistock’s training manual. From its modest beginnings in 1921, Tavistock was ready in 1966 to launch a major irreversible cultural revolution aka – the mass culture industry- in America — one that has not yet ended.
According to the “Stanford Encyclopedia of Philosophy,”Adorno was born on Sept. 11, 1903, as Theodor Ludwig Wiesengrund. He was yet another one of those mixed hybrids from Frankfurt that we keep discovering in our research. Was he the scion of yet another hidden Sabbatean Frankist bloodline? He was the only son of a wealthy German wine merchant of assimilated Jewish background.
His mother was an accomplished musician of Corsican Catholic descent. Maria Cavelli-Adorno della Piana was an eminent opera singer. Adorno dropped Wiesengrund and adopted his mother’s family name. He excelled on the piano and thought, for a while, of becoming a composer rather than a philosopher, hence his studies in Vienna with Alban Berg.
Berg was another overrated-but-promoted “composer” of hideous music, which Adorno picked up. The following video is a recording of an awful piano piece Adorno himself composed and performed.
This is the 12-atonal system, consisting of heavy, repetitive sounds taken from the music of the cult of Dionysus and the Baal priesthood. Adorno gave them a “modern” flavor. In other words, Adorno dumbed it down for purposes of creating rock and roll.
Adorno licked his lizard lips in describing this concoction: “What can be urged against the Beatles,” he said during a discussion in the magazine Akzente in 1965, ”is simply that what these people have to offer is something that is retarded in terms of its own objective content. It can be shown that the means of expression that are employed and preserved here are in reality no more than traditional techniques in a degraded form.”
The 12-tone technique is also known as dodecaphony. It’s a method of musical composition devised by Austrian-Jewish composer Arnold Schoenberg (1874–1951) and associated with Second Viennese School composers.
The great composer Richard Strauss described Schoenberg as being in need of a psychiatrist. He said that “he’d do better to shovel snow instead of scribbling on music-paper.” But let’s just compare Schoenberg with Strauss and see where the rubber meets the road, shall we? I don’t think you have to be a musical expert to understand.
Schoenberg’s revolting and twisted ditty called “A Survivor from Warsaw” (1947). Yes, label me a hater.
Here’s Richard Strauss’ “Also Sprach Zarathustra, Op. 30.” Hard to beat!
Here is a sampling from Anton Webern. It would fit well with the 3 a.m. howling crowd, doing ritual animal sacrifices in an old cemetery. It plays off-kilter chords interspersed with silence that sounds “wrong.”
In “Origins of Negative Dialetics,” Susan Buck-Morss makes the atonality Frankfurt School critical-theory connection. Yes, ladies and gentlemen, it was all from the same playbook. Whodathunk? [See “Flower Power Sowed Seeds of 50 Years of Weaponized Degeneracy“]
Schoenberg’s revolution in music provided the inspiration for Adorno’s own efforts in philosophy, the model for his major work on Husserl during the 1930s. For just as Schoenberg had overthrown tonality, the decaying form of bourgeois music, so Adorno’s Husserl study attempted to overthrow idealism, the decaying form of bourgeois philosophy.
When we went down this rabbit hole, we had to check the confirmation bias that this would be a full-blown Jewish cesspool. Indeed, in the 1920s and 1930s, this music form was denounced as “cultural Bolshevism” and “degenerate art” by National Socialists in Germany and Austria. It was called a Jewish-leveling conspiracy.
Here at Winter Watch, we try to verify and let the chips fall honestly where they may. In actuality, and to be fair, most of the dodecaphony composers were gentiles, not Jews. And were the promoters chameleon Frankists? Did the overrated Adorno end up at the Tavistock and Stanford Institutes through sheer ability? We think not, he was placed as a made man.
This music was promoted by Theodor Adorno. During the 1930s, and in his 1948 book “Philosophy of New Music,” he considered Arnold Schoenberg the most “progressive” person in modern music. He also promoted another travesty, Igor Stravinsky. Have a listen. Only slightly less annoying than Schoenberg, Berg and Webern.
Adorno left Germany in the spring of 1934. During the Nazi era, he resided in Oxford, New York City, and southern California. The latter German-Jewish community was nicknamed “Wiemar on the Pacific.” Jewish interests dominated the entertainment industry, and they had undeserved influence.
Adorno wrote several books for which he later became famous, including “Dialectic of Enlightenment” (with Max Horkheimer), “Philosophy of New Music,” “The Authoritarian Personality” (a collaborative project), and “Minima Moralia.”
Adorno was a player at the Stanford Research Institute for the study of Social Policy, which sprung “THE AQUARIAN CONSPIRACY,” upon the world. SRI Director, Professor Willis Harmon produced “THE CHANGING IMAGES OF MAN,” URH (489)-2150-Policy Research Report No. 4/4/74. Policy Report prepared by SRI Center.
The Beatles became a highly visible “new type” – in Tavistock jargon – and as such it was not long before the group made new styles (fads in clothing, hairstyles and language usage) that upset the older generation, as was intended. This was part of the “fragmentation-maladaptation” process worked out by Harmon, Adorno and their team of social scientists and genetic-engineering tinkerers and put into action.
The Beatles were introduced to the public as a means to spread youth culture, which led to the spreading of the New Age culture, and this was all geared to setting up a nihilistic culture that is present today. In hindsight, though the Beatles were tame, just a warm up.
The Tavistock Institute of Human Relation, as well as, its sister organization, The Stanford Research Institute, developed The Grateful Dead, among other things. Alan Trist, a social engineer for the Tavistock Institute, became the shadow manager of the Dead. His father, Eric Trist, was one of the principle founding members of Tavistock.
Nothing could or would have been accomplished without the cooperation of the media, especially the electronic media and, in particular, the scurrilous Ed Sullivan (Irish descent) who had been coached by the conspirators as to the role he was to play. Nobody would have paid much attention to the motley crew from Liverpool and the 12-atonal system of “music” that was to follow had it not been for an overabundance of press exposure.
Ed Sullivan was sent to England to become acquainted with the first Tavistock Institute “rock group” to hit the shores of the United States. Sullivan then returned to the United States to draft the strategy for TV and records on how to package and sell the group. Without the full cooperation of the electronic media and Ed Sullivan, in particular, “The Beatles” and their “music,” would have died on the vine.
In “The Rest Is Noise: Listening to the Twentieth Century,” Alex Ross put it thusly:
New words and new phrases–prepared by Tavistock – were introduced to America along with the Beatles. Words such as “rock” in relation to music sounds, “teenager,” “cool,” “discovered” and “pop music” were a lexicon of disguised code words signifying the acceptance of drugs and arrived with and accompanied the Beatles wherever they went, to be “discovered” by “teenagers.” Incidentally, the word “teenagers” was never used until just before the Beatles arrived on the scene, courtesy of the Tavistock Institute for Human Relations.
Other Tavistock-coined words came seemingly out of nowhere: “beatniks,” “hippies,” “flower children” became part of the vocabulary of America. It became popular to “drop out” and wear dirty jeans, go about with long unwashed hair.
Tavistock and its Stanford Research Center created trigger words which then came into general usage around “rock music” and its fans. Trigger words created a distinct new break-away largely young population group which was persuaded by social engineering and conditioning to believe that the Beatles really were their favorite group.