Raising more suspicion, when I personally contacted Professor Tobias to request his consent to link his online paper (Composing for the Media – Eisler and the Rockefeller Foundation Music Projects) to this article, to pull quotes of up to 600 words from it, or receive a submission from him for publication in Medical Veritas journal, he declined saying he did not wish to jeopardize future publication of his work.
However, a simple Internet search located his manuscript already published by the Rockefeller Archive Center with the following ethically repugnant notice:
“This research report is presented here with the author’s permission but should not be cited or quoted without the author’s consent…
“Rockefeller Archive Center Research Reports Online is a periodic publication of the Rockefeller Archive Center… intended to foster the network of scholarship in the history of philanthropy and to highlight the diverse range of materials and subjects covered in the collections at the Rockefeller Archive Center.
The reports are drawn from essays submitted by researchers who have visited the Archive Center, many of whom have received grants from the Archive Center to support their research.
The ideas and opinions expressed in this report are those of the author and are not intended to represent the Rockefeller Archive Center.”(8)
Frankly, under “fair use” copyright laws, Dr. Tobias, and the Rockefeller Archive Center, has zero right to prohibit his Internet published work,(8) to be withheld from public scrutiny and scholarly commentary, particularly as it involves matters of widespread psychosocial pathology, public health, and national security, not simply “the history of philanthropy.” For the record, Dr. Tobias neglected to reply to my invitation to prepare a Medical Veritas submission, or consent to be interviewed by me on this topic.
Bioenergetic Music for “Mass Hysteria”
Tobias’s manuscript makes it clear that he was alarmed at his discovery that bioenergetic research in acoustic science focused on producing the social impacts of emotional arousal and even “mass hysteria.”
This research included,
“investigations in ‘physical analysis’ of sound effects, …an established technique which others may use in practice dependably…,” the determination of measures by which audience reactions could be accessed, “even without any technical capacity for psychological measurement of audience response,” and the use of sound effects that “produced what was really mass hysteria.”(8)
Tobias noted the Foundation-funded investigations extended to,
“‘average tolerance of sound effects of different intensities and of different frequencies,’ or… the effectiveness of sound in relation to different noise levels… (Page 66).
“[T]he clear interest here seems to be in the ‘dramatic’ use emphasized in… bringing audiences, with the use of the ‘sensory appeal’ of sound effects, to states of ‘mass hysteria’.”(8)
These revelations best account for the “mass hysteria” demonstrated by audiences responding to “Rock-n-Rollers,” initially Elvis Presley, followed by the “British Invaders.”
It was recently revealed that The Beatles were barred from performing in Israel following an investigation that prompted the education ministry to conclude the Beatles’ performances caused:
“[H]ysteria and mass disorder… There is no musical or artistic experience here, but a sensual display that arouses feelings of aggression replete with sexual stimuli.” (26)
At that time, the Israeli Mossad was effectively tracking Her Majesty’s Secret Service (MI6) and CIA’s military interests, as it had been since WWII.(6,10,14) In 1938. the British-American radio and television cartel was funded and administered by the Rockefeller Foundation, also funding Jewish hate and administering Nazi eugenics.(29) This Anglo-American media connection was evidenced by Michele Hilmes.(15)
On August 31, 1957, hysterical crowds trampled people, including Canadian reporter, John Kirkwood, who wrote:
“It was like watching a demented army swarm down the hillside to do battle in the plain when those frenzied teenagers stormed the field. Elvis and his music played a small part in the dizzy circus.
The big show was provided by Vancouver teenagers, transformed into writhing, frenzied idiots of delight by the savage jungle beat music.
A hard, bitter core of teenage troublemakers turned Elvis Presley’s one-night stand at the Empire Stadium into the most disgusting exhibition of mass hysteria and lunacy this city has ever witnessed…
Colonel Parker also enjoyed reading the accounts of the riot the next day.”(16)
It turns out that Colonel Tom Parker, Elvis’s manager, was suspect for illegally joining the U.S. Army as a European immigrant. He broke his co-management contract with Hank Snow for exclusive control over Elvis’s career, developed Presley’s contact with RCA (discussed below), and worked under the alias of “Col. Tom Parker,” a name that he secretly stole from his Army base commander, Captain Tom Parker. His real name was Andreas Cornelis (“Andries”) van Kuijk.(17)
Thus, the Empire Stadium riot pleasing to “Parker” was most likely a successful U.S. military-RCA experiment to induce “mass hysteria,” especially since RCA, according to Tobias, was a major participant in the Rockefeller Foundation-funded research to musically produce this precise audience impact.(8)
RCA, GE and the Navy
During WWI, U.S. Navy suppressed patents owned by the major companies involved with radio manufacture in the U.S. facilitated the Brit’s war effort. All production of radio equipment at that time was allocated for the Army and Navy. The Navy sought to maintain a Rockefeller-administered military-government monopoly over the radio industry featuring advances in wireless radio.
This wartime command over radio never ended, as some believe, due to the specious congressional indecision the Rockefeller leadership forced regarding the maintenance of the supposed governmental control over radio in 1918. The questionable (mis)direction of the corporatist-government monopoly did not prevent the Navy from creating a national radio system.
On April 8, 1919, U.S. Navy officials met with General Electric Company (GE) executives to develop an American owned radio company, so that the Navy could continue operating as a “front,” exercising its control over the commercial radio monopoly. The resulting purchase of American Marconi by GE satisfied this command and birthed the Radio Corporation of America (RCA).
The incestuous commercial-military cartel that formed included,
- RCA
- General Electric
- United Fruit
- Westinghouse Electric Corporation
- AT&T
This alliance laid the groundwork for fascist control over the energy industries, including human energy (bioenergy) and spirituality that overlaps electro-genetics, and the eugenics and psychiatric genetics movements advanced at that time by the same players.(18) The resulting developments included the National Broadcasting Company (NBC), and a government created monopoly in radio and television, with AT&T controlling telephone communications.(6, 7, 18)
Hilmes’s review of Rockefeller Foundation archives proves that a major objective of the cartel was to coordinate British and American corporate and military interests in radio research and television broadcasting, initially featuring the BBC and RCA.
Tobias’s review showed their research focused on,
- psychotronic warfare
- physiological stress induction
- negative affective (emotional) arousal
- mass persuasion
- herd behavior
- population control
This “black op” is evidenced in many ways aside from the communications reviewed by Tobias and Hilmes.(8, 15) October 6, 1938, for example, the year before A=440Hz standard tuning was adopted, researcher David Stevens wrote to Frank Jewett, vice-president of ATT, regarding studies to,
“control the emotional response of audiences by mechanical means.”
Jewett’s response letter of October 11, 1938, noted Bell Labs officials expressed “embarrassment” for the company’s involvements in this nefarious project, despite its profitable applications and military merits. (8)
“Thus,” Tobias wrote, “this project was a typical Rockefeller Foundation project, in that the goals were partially speculative, but grounded, always, in establishing institutional networks that might ultimately grow into much larger, actually feasible mass media development projects serving commercial interests but having ‘educational’ or ‘dramatic’ uses.”
Military, or “non-commercial, ‘social research,’ was an important way in building not-yet commercial mass media systems and applications…” (8)
This research was eventually applied in the development of modern methods of public persuasion, and cultural indoctrination, by television and radio networks currently considered “the mainstream media.” It must be emphasized that by 1961, according to a series of Rockefeller Brothers Fund reports concerned with their search for America’s “National Purpose,” that We The People would be governed by the assertion that a,
“prudent corporate and military leadership of the National Security State could link guns, butter, and the new technology of missile and nuclear weapons production to the cause of Freedom and the Free World.” (7; p. 204)
The Media Applies Military PsychoScience
According to the Rockefeller Foundation’s archives, the Rockefellers financed and helped organize the military media monopoly over broadcasting, and through various forms of “education,” the programmable public’s mindset.
Tobias, neglecting the foundation’s cartel arrangements, noted that television competition between NBC and CBS was,
“secretive and fierce as production went into experimental phases…” (8)
Evidencing the intended illusion of competition, Congress, in 1974, investigated the Rockefeller-directed Chase Manhattan Bank’s stakes in CBS and NBC, that rose to 14.1 and 4.5 percent, respectively through NBC’s parent, RCA. The Congress recorded that the Chase Manhattan Bank held stock in 28 broadcasting firms, including start-ups based on musical intelligence.
After this report, the Chase Manhattan Bank obtained 6.7% of ABC. The bank only required five percent ownership to significantly influence “programming” – a “psyops” term meaning educational indoctrination, otherwise called propaganda – for sociocultural engineering. (11)
Tobias continued,
“Burris-Meyer wanted to measure audience response to the sound effects, and considered wiring audience members with a ‘psycho-galvanometer.'” (8)
According to televangelist, turned enemy of the pagan corporatist state, Pat Robertson, the CHASE bank is a wealthy shareholder in the FED.
“It is believed other FED owners have similar holdings in the media,” Robertson cautioned in his book, The New World Order. “To control the media, FED bankers call in their loans if the media disagrees with them.”
On page 131, he recommended abolishing the FED.(12)
John Marshall wrote that for responses to sound to be effective,
“emotion involvement is required. If the psycho-galvanometer gives even a rough measure of emotional involvement, perhaps that is sufficient for Burris-Meyer’s purposes.”
Marshall then “urged Burris-Meyer to seek consultation from psychologists who had consulted on the Princeton Radio Project… Thereafter, Burris-Meyer worked through the American Film Center to experiment with the recording of sound effects on film.” (8)
Tobias noted that RF offered network broadcasting and industrial connections to their grant awardees that assured success in the industry and dispersion of research developments with commercial value.
“Rockefeller support,” he wrote, “particularly through Marshall’s insights and wide ranging personal network, typically and vastly expanded the human and institutional resources of any project grantee, in addition to monetary support…” (8)
“[M]usicality enabled a ‘technicolor’ proof of affective public address,” Tobias added, “raising the possibility of greater audience involvement and the spectre of greater audience manipulation; the clear educational and commercial application for musicality as ‘control’ stressed in Burris-Meyer’s ‘sound show’… in works like Disney’s Fantasia, were as much justifications for, as much as demonstrations of, the use of [these] advanced [acoustic warfare] technologies . . .” (8)
Introducing A=440Hz to Professionals
The introduction of electronic sound for stage, screen, and television did not proceed fluidly. 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 world’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 “black-op” officials employed Nazi party propagandist, Joseph Goebbels. At that time, Goebbels was advancing to become England’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,
- Rockefeller’s alliance with IG Farben
- the Standard Oil Company’s fueling of Hitler’s military build-up against Poland
- the funding of Hitler by the Rothschild-Rockefeller-Warburg family bankers backing IG Farben and the Nazi’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.
Hitler’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 Hitler’s supposed enemies in Britain to adopt this allegedly superior standard tuning for the “Master Race.” After the war, the Rockefeller Standard Oil Company was indicted by a U.S. Federal Court, as an “enemy national,” that is, an American traitor.(16)
Research and developments in musical weaponry, tuning with dissonant frequencies, yielding the latest and greatest war making technology for broadcasting “mass hysteria,” was finally instituted in 1939 – speciously adopted, thusly, according to Cavanagh:
Success was achieved at a 1939 international conference held in London.
Presumably as a compromise between current tendencies and earlier pitch standards, it was agreed that the international standard for concert pitch would thenceforth be based upon A=440 Hz – very close to the Royal Philharmonic’s A=439 Hz of dubious derivation.
The BBC began to broadcast the A=440 Hz tuning note, which, for the sake of accuracy was produced electronically. (16)
To help reconcile what was made irreconcilable by covert operators and censorship, Cavanagh referenced Llewelyn S. Lloyd, and a representative of the BSI knowledgeable about Lloyd’s publication in the Journal of the Royal Society of Arts (16 Dec., 1949; 80-81.) entitled “International Standard Musical Pitch.”
Without acknowledging the creative artistry and spirituality of music-making, here is how propagandists at the B.B.C., effectively controlled by Rothschild-Rockefeller banking families, electrically generated the 440Hz frequency pure tone for media broadcasting:
The B.B.C. tuning-note is derived from an oscillator controlled by a piezoelectric crystal that vibrates with a frequency of one million Hz. This is reduced to a frequency of 1,000 Hz by electronic dividers; it is then multiplied eleven times and divided by twenty-five, so producing the required frequency of 440 Hz.
As 439 Hz is a prime number a frequency of 439 Hz could not be broadcast by such means as this. (16)
Although the above detailed technical description for 440Hz pure tone generation using electronic generators that were militarily designed and custom built for the networks may be valid, these historic facts have serious criminal implications. According to preliminary research, analysis, and professional discussions by Walton, Koehler, Reid, et al., on the web,(23) A=440Hz frequency music conflicts with human energy centers (i.e., chakras) from the heart to the base of the spine. Alternatively, chakras above the heart are stimulated.
Theoretically, the vibration stimulates ego and left-brain function, suppressing the “heart-mind,” intuition and creative inspiration. Not coincidentally metaphysically, the interval between A=440Hz (equivalent to F#=741Hz in the ancient original Solfeggio scale) and A=444Hz (C(5)=528Hz in the ancient original Solfeggio scale) is classically known as the Devil’s Interval in musicology, due to its highly aversive disharmonious sound made when these two notes are played simultaneously.(36)
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