[Image credit: Quartz / AP/Jeff Haynes]
How headphones are changing music — Quartz
Byrne notes in How Music Works that headphone listening might also lead people to choose music that is more personal. While listeners might be worried about playing emotional or overtly erotic music on speakers others can hear, they might not worry as much when they are listening via headphones. It is hard to measure this, but the music of Drake, Post Malone and the late Juice WRLD features lots of confessional inner dialogues.
From Cybernetics to Littleton: Techniques of Mind Control by Jeffrey Steinberg — Executive Intelligence Review
Eros was precisely the weapon that the Frankfurt School and their fellow-travellers employed, over the next 50 years, to create a cultural paradigm shift away from the so-called “authoritarian” matrix of man in the living image of God (imago viva Dei), the sanctity of the nuclear family, and the superiority of the republican form of nation-state over all other forms of political organization. They transformed American culture toward an erotic, perverse matrix, associated with the present “politically correct” tyranny of tolerance for dehumanizing drug abuse, sexual perversion, and the glorification of violence. For the Marxist/Freudian revolutionaries of the Frankfurt School, the ultimate antidote to the hated Western Judeo-Christian civilization was to tear that civilization down, from the inside, by turning out generations of necrophiliacs.
If this statement seems harsh, consider the following. In his 1948 work on The Philosophy of Modern Music, Frankfurt School leader Theodor Adorno argued that the purpose of modern music is to literally drive the listener insane. He justified this by asserting that modern society was a hotbed of evil, authoritarianism, and potential fascism, and that, only by first destroying civilization, through the spread of all forms of cultural pessimism and perversity, could liberation occur. On the role of modern music, he wrote, “It is not that schizophrenia is directly expressed therein; but the music imprints upon itself an attitude similar to that of the mentally ill. The individual brings about his own disintegration. . . . He imagines the fulfillment of the promise through magic, but nonetheless within the realm of immediate actuality. . . . Its concern is to dominate schizophrenic traits through the aesthetic consciousness. In so doing, it would hope to vindicate insanity as true health.” Necrophilia, he added, is the ultimate expression of “true health” in this sick society.
The Externalisation of the Hierarchy (1957) credited to Alice Bailey, among her ‘received works’ containing the prefatory Extract from a Statement by the Tibetan, generally taken to indicate the book was a “received” work.
[World War I] marked a climax in the history of mankind, and its subjective effect was far more potent than has hitherto been grasped. Through the power of prolonged sound, carried forward as a great experiment on the battlefields all over the world during a period of four years (1914-1918), and through the intense emotional strain of the entire planetary populace, the web of etheric matter (called the “veil of the temple”) which separates the physical and astral planes was rent or torn asunder, and the amazing process of unifying the two worlds of physical plane living and of astral plane experience was begun and is now slowly going on.