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Destructive Music Resists The Oncoming Light:

The Roots and Influence of American Rock Music

Several months ago I had a visitation from the Master Jesus in a dream. He warned me that if there was not a change in type of music people preferred, Earth's vibration would not be high enough for him to return. By 'return', I knew he meant that enough Christed beings would have to manifest for many to walk and talk with Him in a physical, tangible sense. He also asked me to put a page exposing the roots and spiritual influence of music on my website. Though I knew it was an important task, I feared I would put off many souls visiting the site. At last, I have overcome that fear. It has also been hard for me because I knew my own music needed purifying.

'Let the chips fall where they may'.

Music can either be connected to the higher spiritual realm and beings of light, or the lower demonic realm and its demons, discarnates, and entities. Music is powerful. Good music 'possesses' the listener with light, power, love, and illumination. It is empowering and uplifting. Bad music engages the listener in human discord and degradation, or worse-it opens the soul to malicious possessing entities which will to destroy it. Whether you think of these demons and entities as within the psyche of the individual or outside, it doesn't matter. They bring forth destruction.

The disaster at Columbine High in Colorado resulted in the diverting of 23 key souls of light from their mission on this planet. This was the result of two souls steeped in the jagged rhythms and foul execrations of hatred mouthed in Satanic Rock. The incidence of teen suicide and violence can be traced, in many cases, to exposure to malicious music.

On the other hand, to bring forth the full alchemy and manifestation of a lightbearer's mission on earth it is advisable to completely avoid discordant, jagged, and perverted music. That's what the mute button on the TV remote control is for :) . Why then does some rock music feel good when you listen to it? Unfortunately, it is because it is ripping the light out of the sensitive chakras or nerve centers along the spine. The presence of this light in the body gives a temporary euphoria, and the light eventually flows to the musicians, or is grabbed by demons and entities, or it is expended in sex. Rock music drives the energy down to the lower chakras where it used in baser endeavors than intended.

It is by tracing the roots of music in the past that we can understand its influence. Modern popular music-rock, blues, jazz-had its root in Africa, and strangely enough, Ireland. Michael Ventura has been a 'scholar' who has profoundly understood the roots of the 'new' music. His opinion is that modern music forces physical expression of repressed sexual forces in dancing and thus heals the mind-body split caused by Christianity and western 'mental' emphasis. Though that idea resonates through his early work, his later writing talks of a process of 'endarkenment', the fascination with evil which permeates much of American music and society. We have only to look at who gets the most attention in the media and movies: it is mass murderers, convicted felons, rock musicians, and corrupt politicians. The worse you are, the more famous you become.

Ventura's early book, Shadow Dancing, (now out of print) explores the roots of rock and roll and jazz in the groundbreaking essay: 'Hear That Long Snake Moan'. This essay is a must for anyone wanting to understand the true nature of rock and roll. I would also recommend Michael's later book, Letters at 3 am: Reports on Endarkenment. One must read these books with the understanding that though his point of view is not always of the light, he presents the facts which betray the destructive nature of the 'new' music.

The origin and meaning of some popular terms:

rock and roll-rocking back and forth on a 'jelly roll' or woman's sexual organ. The original meaning of term 'rock and roll' in the juke joints was to have sex. Of course there is also the implication of the 'rock of Christ', a meaning which is expressed in southern 'gospel' preaching which utilizes the same body movements as rock and roll. Being possessed by the 'Holy Spirit' was called 'rocking' the church'. The movements come from being possessed by the serpent entities of Voodoo not the Holy Spirit. Why does the bible talk about Eve being tempted by the 'Serpent'? Was that 'Serpent' or related 'Serpents' the origin of the 'loa', the serpent entities of Voodoo? Think of the screams of Little Richard, Janis Joplin, James Brown, and Bruce Springstein-they are the same as the wailing of the possession of these serpents in the churches.

Many 'hip' musical terms had an origin on the West Coast of Africa in the Ki-Kongo language:

funky-'lu-fuki' in Ki-Kongo for 'positive sweat' A term of praise for a person's musical art. If you can make a person sweat with possession, its 'funky'. 'Play that funky music, white boy...' A praise promoted by demons.

Mojo-'soul' in Ki-Kongo. The soul of recognition of the demons of the blues in one another. A talisman invested with the energy of possession: 'I got my Mojo workin'... ' I played second act to Muddy Waters, and know also that Mojo meant 'penis' and 'serpent' and was capable of casting a Voodoo spell, particularly to lure another in for sex. Not that sex is evil, just that using people through sex to steal light is.

boogie-came from Ki-Kongo, 'mbugi', which means 'devilishly good'-need more be said? To me, there is difference only in the words involved in Satanic rock and boogie music. The intended possessive effect is the same.

Jazz-here's where I'll probably get the flack-jazz is thought to be uplifting and soul expressing. In Ki-Kongo it's probably 'dinza' which means jism or ejaculation. Tell that to the Utah 'ejaculations' basketball team, for example :) .

cool-among the Yoruba people of Africa: 'His heart is cool' (okan e tutu). Cool is a term of adulation for possession, more general than funky. The possession must be passionate-in what direction?

Where did Voodoo come from? In the 1650's, Henry, the governor of Haiti, sold 30,000-80,000 white Irish as slaves to the blacks on the island. His goal was to rid Ireland of pagan worshippers. Thus the pagan religions of the British Isles were merged with the black Gods of Africa and their rituals. The West Indian accent betrays this fusion of Africa and Ireland. The result was Voodoo, which talks about the serpent gods, the 'loa', as 'riders', and the person as the 'horse'. Ghede, the 'Hermes' of Voodoo, and 'Erzulie', the Aphrodite, or others may possess either man or woman like a rider on a horse. Each 'loa' responds to a different rhythm. Is it any wonder we have new dances to new rhythms coming along to transform rock and roll? They are merely spawned to attract more malicious entities in a progressive initiation into deeper levels of evil. Why has society degenerated into drugs, violence, and abuse? In large part because of the entities spawned by a music from a deeper level of 'hell'.

However, can it be proven that rock and roll is tied to Voodoo? There is no doubt. Michael Ventura lays out a more than convincing case. Voodoo came to Louisanna in 1803 when a ban was buying black slaves was lifted. In addition, Haitian Black-Irish came to New Orleans and were not at first allowed to have public rituals. However, in 1917, they were permitted mass Voodoo ceremonies in Congo Square. Marie Laveau, the Voodoo queen, an avowed Catholic (that was part of the Voodoo meld too), ran prostitution houses and led elaborate ceremonies. She was a 'mambo' or shaman of the Voodoo cult. And it was said that many who sought to usurp her queenship met their death because of her spells. The participation of whites in the ceremonies increased. As Bessie Smith said, New Orleans is a right fine place, "whatever the folks do, the white folk do it too." Marie Laveau had a dance she did all by herself. She wrapped a snake around her shoulders and undulated like one herself. She died in 1881. Buddy Bolden pioneered 'jazz' and first played the blues cornet in the early 1890's.

As Michael Ventura says, "American music starts here." Less than ten years after Marie Laveau's death, New Orleans brass bands were playing sounds not heard before. The godmother of Jelly Roll Morton, one of the fathers of the blues, was Eulalie Echo (Laura Hunter), queen of the madames, consulted for Voodoo hexes and cures. The forms of the Voodoo rhythms survived, being passed by Voodoo practitioners directly to key musicians. And if the rhythms survived, so did the possessing entities.

Little Richard, Elvis Presley, Jerry Lee Lewis, Chuck Berry, and Janis Joplin all were raised within a half day's drive of New Orleans. Jerry Lee Lewis was Jimmy Swaggart's (the TV preacher's) cousin, sold his sold to the Devil to carry the 'gospel' of rock and roll, marrying a 13 year old girl. The wild body movements of these artists are definitely the same as the 'Voodoo moves', just check out videos of both.

Robert Johnson, the great blues player of the 1930's upon whose music rock and roll is based, sold his sold to the Devil as well in order to be able to play and sing as he did. These are recorded, well-recognized facts.

Arthur 'Big Boy' Crudup was the first to record and sing with an electric guitar. He recorded the rhythms and feels Robert Johnson had 'pioneered' in the '30s. In 1954, Elvis Presley's first recordings were Big Boy Crudup's tunes. He often imitated Crudup, note for note, but developed his own style of body movements. As Ventura points out, "No white man and few blacks had ever sung so completely with the whole body." This led way to popularity for black artists like Little Richard, Fats Domino, and Chuck Berry.

Where does the energy go when a person places their attention on this Voodoo music? Alfred Metraux wrote of Haitian Voodoo dancing: "it is to the loa and not the loa's servant that their admiration goes out." Ventura continues: "The Voodoo rite of possession by the god became the standard of American performance in rock and roll... In American culture we've mistaken the loa's servant for the loa, the horse for the rider." Thus the rock and roll idol was born.

Bob Dylan once revealed himself when he said, "If I told you what our music is really about we'd probably all get arrested." Bob Dylan was the Pied Piper who led people from pure folk music to rock, and perhaps was single-handedly responsible for "the day the music died', as DonMclean penned in 'Bye-Bye Miss American Pie'.

Will it be 'Bye-Bye' for America? Will we be able to reverse the trend toward more and more destructive music? Will we stop the 'endarkening' of our youth? Will the master Jesus again walk and talk with us? Perhaps we need shocks like Columbine to awaken us to the true plot of the Voodoo gods and other malicious spirits to destroy light, love, and illumination through music.

Watch for the next installment which will deal with uplifting music and why it is uplifting. Thanks for hanging in there!!


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