September 9, 2025 (9-9-9)

Music by Decades – Music Requires Melody & Harmony

Crrow777

“The Calliope (meaning “beautiful-voiced”) crashed to the ground”. And through the decades, so did the complexity and higher-minded nature of what “music” once was, and could be again. Whether you pronounce her name Cal I-O-Pee, or Cally Ope, she was one of nine Muses, whose name was later applied to a steam-driven (gas) musical instrument. At one point, the calliope was intended to replace church bells, whose healing tones are now rare in our world. Over the decades, the majestically tuned bells of the olden days fell, losing their uplifting, healing frequencies. This, of course, is the selfsame path that modern music has followed, intended by those with malice aforethought. At what spiritually destructive vibratory level do these malignant souls resonate?

In Episode 644, we trace how music fell, in plain sight. We start in the Romantic era, when melody and drama still aimed at the higher mind. Then, we watch the mechanical age arrive and capture sound itself with the phonograph. Music could then be mass produced and subject to manipulation. From that point, the decades read like a blueprint for cultural engineering.

The ancient principle of vibration is among the most fundamental laws affecting what we call reality. And what can better illustrate this than music? From our perspective, the entire experience of listening to music is concentrating on vibration. With all this in mind, I will ask a very simple question that can potentially open your awareness during this time of awakening. Do you think it is possible that those who control the music industry are aware of the foundational effects of vibration and its power to program, influence, and direct the human state of being?

Truly, everything vibrates. This includes your thoughts, emotions, and consciousness. Vibration also governs form, which is openly demonstrated each time you see powder poured on a solid plate with frequencies applied. This method of making sound visible is called cymatics in the modern era, and what it demonstrates is the invisible creation of form. The higher the vibration/frequency applied, the more complex and detailed the geometry that is forms in matter.

At the point sound could be recorded and replayed on demand, influential possibilities were unlocked. Sheet music and live band rooms were captured, for the first time, on cylinders, then discs, then radios in nearly every home. This gave rise to the decadal genres, where we begin with Ragtime. Ragtime’s syncopations eased the public out of strict forms while New Orleans jazz legitimized improvisation. Tin Pan Alley standardized hooks, and vaudeville packaged variety into short segments that trained perception and attention. By the 1920s, radio unified taste across a continent, and later much of the world. The Great Depression made radio essential, so curated sound became a nightly companion that shaped mood in millions of homes, drastically decreasing the variety of unique experiences. Swing arrived with big bands that filled ballrooms and airwaves, offering release while habituating listeners to arranged power from a central point.

Crooners arrived and leaned into the microphone, amplifying even a whisper enough to reach the world. After the war, bebop reclaimed difficulty for the player, while early R&B simplified the backbeat for the dancer. Country music commercialized the folk story, while building geographically genera trained areas. Sweeping change came with the arrival of delivery formats. The 45 RPM single in 1949 compressed the song into repeatable units that sold by the millions, fit the jukebox, and trained the ear to habituate on short cycles. This set the standard runtime for single songs, shortening the possibilities, and homogenizing variety. Before long, television amplified and broadcast faces in synch with soundtracks. By 1954, rock and roll began its take-over, locked the backbeat, and crowned a new archetype, with Elvis as the template of mass-engineered stardom. The cult of personality intensified riding a blueprint called social engineering. Doo-wop arrived with smoothed harmony and sweet sentiment, while the industry learned how to pulse releases by quarter and season. Technology set the frame, and the format set the habit. The technology was a carefully crafted, and mass market delivery systems carried invisible vibrations into every corner of culture. Before long, music and entertainment became the vibrations that shaped and directed culture. And for the first time the massive post-war generation of young, and the future, was targeted by the social engineers through music and the cult of personality.

Now consider the frequency change that modified standard orchestral tuning, put forward in the 1930s, and adopted everywhere by 1955. From a broad point of view, there is very little difference, and most of us would be hard-pressed to identify the difference by listening. But from a subtle (and cymatic) point of view, a difference was made. And from a spiritual point of view, it is in subtlety where higher states of being begin. Eight cycles a second is a subtle change, and the effects that slowly became permanent waves were subtle indeed. It is easier to tune nearly any instrument compared to a piano, and all the pianos were now being tuned to 440 Hertz, not cycles. The plausibly deniable intention is there for those with subtly tuned eyes and ears to detect… and know.

What seems easily dismissible to us today might be considered so subtle as to be unimportant. As an example of this, I bring forward the idea of cycles per minute (CPM) vs. Hertz (Hz). When I worked as a Roadie in the ’90s, I met a number of very old electricians. Some had been working stages since the early 1960s. One told me that “back in the day”, very few people in his field used the term hertz in favor of CPM. He went so far as to ask me, “Why should we abandon a very descriptive term for the last name of some privileged guy?”, which is a fair question. He was not a fan of the change and questioned why it was done, stating CPM much better served in communicating what is being measured. From a cymatic point of view, what would be the difference between speaking the word “Hertz” to see the cymatic geometry formed and then speaking the word “hurts”? Though quite subtle, this comparison speaks volumes for those spiritually advanced to the point where subtlety is no longer invisible and without meaning.

Across the decades, the pattern is consistent. New devices arrive, a new format locks in, and then a new style rides the format into mass adoption. Each shift narrows the spectrum a little, simplifies it a little, and moves the listening public a step farther from living rooms and church bells toward centralized catalogs and corporate gatekeepers. We are shown progress, yet the net effect is control by repetition, influence by frequency, and engineering by blueprint. If vibration shapes form, then standardized vibration institutes standardized forms, which in time begets standardized minds, which in turn homogenizes variety; and we all know that social engineers detest variety. Variety is a thing to be removed when control is the main goal.

The complexity and uplifting beauty of popular music fell away decade by decade. By the time the 60s rolled in, music had been so “lowered” that our ability to appreciate complex forms of music fell away from minds addicted to thrilling repetition and a very narrow, stylistic genre called rock n roll. It is on the record that many session musicians viewed studio work on “Rock” songs as infantile and beneath them, compared to the complexity the best of the best could deliver. It was not until the second generation of studio musicians that the best of the best did more than tolerate the music they played for a paycheck. After all is said and done, we can look back with 20/20 vision to see what rock n roll was used for by controllers who fully comprehended the 3rd law of Hermetics. By 1969, rock n roll had not only shaped culture for the largest generation of young people known to date, it destroyed the ethical foundations that once protected our young generations. As the 1960s passed into history, so did cultural morality, the family unit as it had existed, and the socially negative view of drug use that once protected young people from the pusher. The normalization of drug use via music was so successful, that modern drug pushers are legal corporations now openly doing business in every American city. We call them pharmacies, a word related directly to pharmakos, which connotes human sacrifice and the dark victimization of a scapegoat. I guess I should not be surprised when the occult goat shows up, particularly in a time when our young are being taught that G.O.A.T. means “greatest of all time”. The things that I feel are truly great are opposite of such descriptions and symbols. But in this era, occult darkness performs in the open, unafraid, and supported by those running the show.

The era of rock n roll was so successful for social engineers that they could hardly wait for the last decade of the millennium, where we have examples of arena-filling bands being paid off to stop recording successful rock albums. You see, hip hop and rap were the next slug loaded into the social engineering shotgun, and the malice and malefic frequencies delivered made rock n roll seem tame by comparison. It is not by chance that those who control the urban soundtrack machine also hold controlling interest in the for-profit prison system. And where the devil was once upon a time a myth about bluesmen at the crossroads, the black magic conjuring is now preformed in public to rhyming lyrics live on stage with corporate funding. The devil is no longer in the details, he is in the title and billing… and of course, the spiritually destructive beat.

The point is not to abandon music. The point is to choose it with awareness. Seek live sound where bodies share air. Spend time with acoustic instruments that throw true overtones. Play your own music. Explore pre-standard recordings and notice how pitch, room, and dynamics feel in the body. Favor long form over fragments. Limit the passive feed that plays you all day. Let music serve the higher mind again, not the market. For some genres of music this is not really possible, at least not as they exist now. If you see a song with a title like “Bitches”, or a band named “Death”, what is it that you should already know? Words have meaning, and a frequency. Music should be uplifting and deliver a meaningful experience at some level. It should not be an obsession, nor should the cult of personality be a thing that is worshipped. In truth, the music industry and its performers, at this point, are not salvageable. And by the way, if a “song” has no melody or harmony should it still be called music? We can, and have done much better, and it is time in this era shift, to refashion what music is, and the role it plays in our lives. May complexity and higher-minds step up in order to right the sinking (past tense: sunken) ship called popular/modern music.

I would like to wish you all a happy, healthy, and higher-minded new era – Cheers!