The Rock and Roll Revolution
By Orlando Fedeli
Introduction: The power of music
I - Music: Symbols – Ideas and Morality
II – Rock and Revolution
III - The beat and its effects
IV - Rock e Religion
The power of music
“Rock is a basic way to express passions which, in big
audiences, may assume characteristics if cult or even
adoration, contrary to Christianism.”
(Cardinal Joseph Ratzinger, Pope Benedict XVI)
It is a lot common to find parents who do not care about
their sons and daughters spending hours listening to high
volume Rock for they consider “there’s no problem in it”.
They, when young, used to listen to romantic songs or jazz
music. They would play then to their kids when they were
children. Now those kids are grown-ups and unconsciously
took in the consequences of the musical and educational
principles they have received: just listen to rock.
From sugar-coated romanticism to frantic rock, passing
through the intermediate step of sensuous jazz, there is a
coherent logic the soul goes through, even if that should
Rock itself registers, faster though, the same steps in its
way. Beginning with sentimental lyrics and songs, it soon
reached the frenzy and evil cliffs. Not by chance does the
song that is considered “official hymn” of rock – Stairway to Heaven -
goes through these phases:
sentimental, sensuous, and frantic. (There were other
reasons to label this song as “hymn” of rock which we will
It is also common to find youngsters who, when acknowledge
the lyrics of songs they listen, say they do not understand
the lyrics and only care about the beat or, a lot rarer, by
They do not notice the song has deep effects in the human
soul. It is evident that when they hear or read such
statement they place a doubt upon it. However they recognize
rock fires them and make them cheerfully excited. They must
also recognize that there is music that goes best to terror
films, which incline the soul to fear the unknown. There are
others that are well-matched with love and sentimental
scenes. They will not be able to deny that certain songs
produce melancholy and sadness, others awake happiness, and
others produce enthusiasm.
Music, therefore, is creator of states of soul, which give
birth to correlated ideas in our minds. Those who allow
music to create in their soul melancholy and sadness states
will naturally tend to sadness and melancholy, for this
reason, melancholic, sad and pessimistic ideas.
It is then crystal clear that a song, for its own, creates
states of spirit and gives rise to ideas.
They did have reasons, thus, Greek philosophers when
attributing to music an important role in education and
upbringing of youngsters. Aristotle would prevent that
“through rhythm and melody a great range of feelings arise”
and that “music may help in character development” and “one
may tell apart the musical genres by their echoes in the
character”. One genre, for instance, would lead up to
melancholy, others suggest failure one one’s self-domain,
enthusiasm or any other disposition above mentioned.
(Aristotle. Apud W. Matt, Le Rock’n’Roll: instrument de Revolution et de Subversion Culturelle.
Quebec: St Raphael, 1981, p. 6).
Plato is even clearer. In the dialogue Republic he warns
that music may shape or unshape characters the deeper and
more dangerous the more unwarned one is. Most people do not
notice that music has the power to change hearts of men, and
thus, little by little, shapes their mentalities. Changing
their mentalities, music ends up changing customs, which
determines the changes of laws and institutions themselves.
So Plato would say that it is possible to conquer or
revolutionize a city by changing its music.
“All musical innovation is full of dangers to the whole
city” (…) “one may not change the musical modes without
changing, at the same time, the fundamental laws of State””
(Plato, Republic, Book III).
To Plato, musical education is the most powerful, because it
allows introducing in the child’s soul, since his early
infancy, love to beauty and virtue. The musically
well-educated person would soon notice beauty and harmony.
And as there is no love without hatred, he would hate what
is ugly and evil. Plato asks. “Would not (someone) praise
what is good, receive it with delight and, taking it in the
soul, nourish from it and make himself a good man at the
same time, hate and keep away the ugly since child, even
before he may reason? And then when the age of reason comes,
the person who was brought up this way will welcome it as an
old friend. (Plato, Republic, Book III).
Musically well-educated, Plato continues, the youngsters
will grow up in a fine land, not missing any exhilaration of
beauty that get to their eyes or ears, coming from every
part, as if the living aura would bring them form the purest
regions, inducing our citizens, since childhood, to imitate
the idea of beautiful, love it and adjust with it. (Plato,
Therefore, Plato concludes, one should not allow artists to
exhibit “ways of addition, intemperance, wickedness or
immorality in sculpture and other creator arts (…) We will
not allow our guardians to grow up surrounded by images of
moral depravity, feeding, so to speak, from an evil herb
that would be born here and there, in small quantities, day
after day, without anyone to notice it, a huge source of
corruption in their souls. “ (Plato, idem, ibidem).
Plato insists in the insinuating power of music to act
without being notices, so that it may destroy or
revolutionize a society “for it is there where illegality
insinuates more easily, without being noticed (…) as a way
of leisure, at first sight not harmful.
Not, by principle, causing any harm, but this spirit of
license after meeting a shelter begins introducing itself
unnoticed in uses and customs; and from there it continues,
empowered, to agreements among citizens, and after the
agreements, invades laws and constitutions and, with more
lack of prudence, until when, oh Socrates, transform all
public and private life”. (Plato, Republic, Book
It is so true this analysis by the Greek philosopher that it
may be perfectly applied to that has happened to our society
customs. It looks like one is mentioning a contemporary
author describing what happens in our time.
Therefore music may have a positive upbringing effect or may
Of course, as it is easier to destroy that to constroy, the
effects of weed music are faster and more efficient that
those of good music. Aesthetic and moral corruption,
although step by step, goes faster to the deepest cliffs
than virtue in its rise to the pinnacle of heroism and
In this work of deforming and corruption also done though
music, in the XX century, we must point out the role of
liberalism that considers all by their positive side and
that, thus, judges that nothing should be prohibited.
Liberalism is “institutionalized tolerance” not only in
certain “tolerant” homes but in society itself. Liberalism
is the system of “tolerance”. Therefore liberal parents
allow their kids to listen to all, without any restriction
whatsoever. Well, as one listens to all, one accepts all,
and by accepting all, one approves all” (in Walter Matt, op.
cit. pp. 22-23, footnote 17, making a parody of St
The acceptance of evilness, living together with it leads to
liberalism, at the end, to approve all vice, all crime, all
absurd, and all monstrosities. That was how modern art
helped deforming the XX century. That is how Rock dominated
world youthfulness of our time. If 50 years ago one had told
that the grandchildren of Sinatra’s fans would be Black
Sabbath or Possessed enthusiasts, no one would have
believed. But as the fall has happened step by step, until
the abysm, all liberalism has approved.
"Vice is a monster of so frightful mein
As to be
hated needs but to be seen
Yet seen too oft, familiar with his face
We first endure, then pity, then embrace".(Alexander
I - Music: Symbols – Ideas and Morality
To confirm what we have said – that the music renders ideas
– we want to quote a well-known specialist, conductor
Koelreutter, who declared, during a comment about “Chacone”
of Bach, at Cultura FM radio station from Sao Paulo, in
August 1993: “Music conveys spiritual manifestations. Music
is a language, and, as a language, it is a transmission
means. It transmits something: a message, a piece of
information and so on. I would say then that music is, among
other things, a language, and it is capable of conveying
Every art uses symbols to express ideas. Music is a kind of
art, and expresses its ideas through sounding symbols.
Well, every symbol, besides being objective, is ambiguous.
The serpent is a devil’s symbol, but it was also Christ’s
symbol when Moses raised his brass serpent statuette on a
piece of wood in order to heal the Jews bit by snakes in the
desert. It is both symbol of wicked cleverness and saintly
prudence. (“Be ye therefore wise as serpents and simple
as doves”).The dove is a symbol of simplicity, and
stupidity as well, says the Scriptures. (Sophonias III, 1).
If the created things do have ambiguous symbols, the very
word, even though it should be objective, it could also have
its own meaning altered. Because of this, although literacy
be the most objective art, a great deal of interpretations
are given to the clearest texts! The sounding or musical
symbols are the most ambiguous and least clear of all. Music
is, therefore, the most subjective of all arts. Due to this
the subjectivist Romanticism considered music as the easiest
one to be made romantic.
On the other hand, music could be considered, at the same
time, both the highest and the lowest art. The highest
because it can create a certain mood to the soul which words
have difficulty to express. Music is the art closer to the
ineffable, which means, God.
However, besides reaching the summit of the ineffable, the
music is also the lowest art, in the sense that it reaches
even those that have no culture (the savages), those that
have not reached the use of reasoning (the babies are lull
and calmed by lullaby songs), those that have lost the
reason (it is said that crazy people calm down when
listening to classic music). It is even known that the very
animals are influenced by music. And this is the only art
that can reach them, for the rhythm and the melodic sounds
(proportional) resounds favorably in their nervous systems.
[We have read somewhere that one made experiments with cows
in stables. When Vivaldi was played they would delivere more
milk. When Rock was played, they would hold their milk. We
were also informed that Rock’n’Roll used to make sharks
fuming inside their great aquariums, while classical music
would make them at ease. The same thing was observed with
crazy people. A priest told us that when someone played Rock
and Roll to the African savages, they would ask them why
they were summoning the evil spirits…]
If music modifies the moods of people, and if it is the most
ambiguous of all arts, it is logical and natural that their
authors have looked forward to making more objective what
they wanted to say with it, by writing lyrics for their
songs. One of the uses of lyrics in a song is this: to fix
more objectively and more clearly what was insinuated by the
ambiguous musical symbols. Because of this it is essential
to have lyrics in order to more objectively understand a
song. When someone claims – particularly regarding
Rock’n’Roll – that he or she enjoys the song but gives no
importance to the lyrics, maybe because he or she does not
understand it, this person is not preserved from the effects
of the ideas expressed by the lyrics of the song, because
melody says vaguely what the lyrics expresses. In the same
way, he who drinks poison, despite not knowing or
understanding its formula, will die anyway. He dies without
understanding, but he dies. He, who refuses to recognize the
malevolent effects of the drugs in the brain, and use them,
suffers in the same way the ingested drugs’ woeful effects.
This is also true to those that listen Rock just because of
its “melody” or because of the rhythm, for they have their
mentality transformed, and, without having understood or
approved the lyrics of Rock songs, they end up having the
same ideas that their lyrics expresses, in such a way that
the musical symbols talk and teach the same thing said and
taught by the lyrics of the songs. A sad song must have sad
lyrics. A military song must have heroic lyrics. As it is
rebel music it will make the youth a rebel, even if he does
not understand that the lyrics tell him to revolt against
his parents, teachers and authority.
A devilish music will make the listener that listens it with
pleasure a Satanist. Even if he doesn’t understand that the
lyrics commands him to worship the devil, he will proffer
blasphemy against God in the first opportunity that he will
Let’s consider another aspect of the question. The
subjectivist Liberalism that dominates the world nowadays
does not accepts objective beauty as truth. Everything is a
matter of personal taste. “Beauty is something that I think
is beauty”, everyone says. This mentality is the result of
the liberal subjectivism before the truth.
To subjectivist liberalism there is neither objective truth
nor objective good. Just every people’s opinion is
worthwhile, not the right and objective concept that says
what the things are. Hence this the liberalism has created
the reign of the “I think”. Nowadays everyone thinks “that
something is wrong or right, good or bad, fair or unfair”.
In the XX century (and in the XXI century as well) – like in
the asylums – everyone is free to think what they want about
themselves, about the others, about everything. They can
even believe they are Napoleon, that the sun is dark, that
the fire does not burn, and that the truth does not exist,
or that the Rock and Roll is beautiful.
Consequently, to the liberalism there is no objective
beauty, and the personal taste rules. Then things cannot be
objectively beautiful. The beauty would depend on everyone’s
taste and, because of this, something could be, at the same
time, beautiful and ugly. It is beautiful to someone and
ugly to someone else.
Evidently such madnesses contradict everything claimed by
philosophy and the good sense. They even deny the
fundamental principles of the human thinking: the identity
principle (the being is what it is); and the principle of
non contradiction (something cannot be and not be, at the
same time, under the same aspect). If something is
beautiful, then it cannot be ugly.
The Greeks were the first people to show that the material
beauty is mathematical, for it depends on proportional
measures. Something is materially beauty when its many
measures form a proportion a/b=c/d.
And a proportion does not depend on anybody’s opinion.
Either it is right or wrong. Either it is proportional or
not. Due to this, something is beautiful (has proportions)
or not, no matter people’s taste. He, who likes something
not proportional has a bad taste. And bad taste does not
Later, the great scholastic philosophers explained what
beauty is on its own.
“Beauty is the resplendence of form over the proportional
and determined parts of the matter”. (Saint Albert Magnus)
“Beauty is the good clearly known”. (Saint Thomas Aquinas)
Beauty is the brilliance of truth, medieval people used to
say. "Splendor veritatis, pulchitudo".
Music aims at – as every art – leading men to understand a
truth and love the good that this truth claims. Therefore,
music – as every art – conveys ideas and makes one loves
Music conveys ideas in three ways:
a) through its sounding symbols;
b) through the mood that it induces, which will produce
c) through the song’s lyrics, which are there to express
more objectively and clearly what the sounds symbolize.
This capacity of transmitting ideas leaded all the
historical movements express themselves through music. The
French Revolution, for example, expressed its ideals through
And one cannot claim that what we affirm is pure theory.
Rock leaders themselves confess this.
Let us see some testimonies.
The famous – and specialized in this theme –
Stone Magazine asserted:
“We understand that music was the glue that stuck in a
generation and that through music ideas were communicated
ideas about relations, social values, political ethics
and the way we wanted to conduct our lives”. ( O Estado de
S. Paulo, Section 2, year VII, # 1940, 1-VI-92 – underlined
Mick Jagger, leader of the Rolling Stones declared:
“We always work to guide the thoughts and the will of
people, and the majority of the bands does the same thing”.
(Apud Father Jean Paul Regimbal and another ones. Le
Rock’n’Roll viol de conscience par les messages subliminax.
Quebec: Editions St. Raphael Sherbrooke, 1983, p.18. The
underlined is ours).
The Beatles said:
“Our music is capable of causing an emotional instability, a
pathological behavior, even the revolt and the revolution”.
Jimmy Hendrix, a famous rock star that died because of
drugs, asserted that Rock music has a deeper effect yet:
“It is possible to hypnotize people through music; and, when
we reach the weakest point of people, we can preach
everything we want to say to their sub-consciousness….”(apud
Luc Adrian. “Hard Rock, la danza del Diablo” in Jesus
Cristus magazine. # 26 March/April 1993, p.8).
Graham Nash, by his turn, confirms what we have said with
“Pop music is a means of communication that shapes up the
thinking of those who listen to it. I also believe that the
musicians, through music, enjoy a fantastic advantage. We
can rule the world… we have the necessary power at our
disposal”. (Apud Pe. J. P. Regimbal, op.cit., p.18).
Moreover music renders ideas, it changes the mood of the
listeners, and leads them to act in a certain way. Because
of this there are songs that, stimulating them, leads people
that listens to it to fight against the bad tendencies
present in every man. There are other ones, however, that
create certain moods that tend to the vice. It is so real
that there are sensual songs, as there are sounds and songs
that incite joy or terror.
Consequently, music can either take someone to the vice and
to the sin or place him in the virtue path.
The truly beauty must lead towards good and towards virtue.
And how could it be different, once the beauty is the good
clearly known?? How could it be different, if in God, Truth
and Beauty are the same thing?
Fairly enough then, Plato has said that the child taught to
love good music would tend to practice the virtues, for
beauty and virtue are like two sisters that love one each
other and that like being together.
One of the greatest Romanticism sins was to refuse to accept
the existence of the objective truth and wish for an art
that just wanted to please. Romanticism has separated beauty
from truth, as it accepted the separation between beauty and
morality, made by the Renascence. To romantics, beautiful is
just what pleases. Just pleases what is beautiful. There is
nothing to do with good and truth.
But that what simple pleases, divorced from the truth and
from the good, is the sin. All vices please. What makes it a
vice is to be against reason and against the good of virtue.
Romanticism, simply looking for the pleasant, constitutes
itself a sin.
Educated by liberalism and romanticism to go for the
pleasant, the XX century men moved from the purely
sentimental pleasure to the sensual pleasure, to at last
dive open and confessedly into sexualism, and, from it, into
frustration, boredom, mystery, horror and Satanism.
The Rock’n’Roll also followed this pathway, from
sentimentalism to the sexualism, up to Satanism. In fact,
the first Rock songs were sentimental. Afterwards, there was
the worship of the devil.
That Rock not only infuses ideas but also excites to sin,
its most famous leaders recognize in an open and scandalous
The Rolling Stones manager cynically declares:
“The pop music is sex; teenagers must be overloaded with it.
(Apud Walter Matt, op. cit. p.15).
And Sara Davidson confess: “Sexuality, such is what Rock
language deep inside” (idem, op. cit. p.16)
And Mick Jagger: “Rock music is sex and it is necessary to
crush youths with it. My auditory I can seduce exactly as a
striptease actor does”. (Apud Mons. R. Williamson. Semper
magazine, #2, p.23).
And Alice Cooper: “My public want to be treated by me as a
sexual criminal treats his victim…The relationship between
me and my listeners is highly sexual. To dominate a public
this way is a powerful and pleasant experience”.
In fact, we can see in Rock festivals and concerts a kind of
orgiastic show, with libidinous and sexual acts, nudism,
frenzy, vices, everything explicitly and cynically done in
The lyrics of Rock songs are cynically pornographic. In them
we can find brutal four-letter words, obscene images,
incitation to sin. The Guns’n’Roses songs and those of Jimmy
Hendrix, just to quote a few examples, are plenty of this
kind of this sordidness.
The lyrics not only incite to sex, but they preach
shamelessly the use of drugs. It is known that a great
number of Rock stars is drug addicted, and that a great
number of them died from drugs effects. It is outrageous to
notice that no anti-drugs campaign accuses any one rock
singer and rhythm of being addiction promoters or suppliers
of victims to the drug dealing.
Let us take the song “Mr. Brownstone” by Guns’n’Roses as an
example. (Mr. Brownstone is the code for heroine drug in
rock lingo. And it is exactly explained in a footnote of the
magazine Letras Traduzidas Guns’n’Roses in an special
album published in Brazil by Abril Press, SãoPaulo, March
1991, year 7, #2, p.15).
We can read the following verses in “Mr. Brownstone” (Mr.
We been dancin’ with Mr. Brownstone (heroine)...
...I used ta do a little but a little wouldn’t do,
So the little got more and more
And “My Michelle”, song from the same band says:
Your daddy works in porno
Now that mommy’s not around
She used to love her heroine
But now she’s underground
So you stay out late at night
And you do your coke for free
In the song "New York City", The Beatles’ band leader, John
Lennon, says to the youngsters:
Stand on the corner
Just me and Yoko Ono
We was waiting for Jerry to land Up
come a man with the guitar in his hand
Singing “have a marijuana if you can”
His name was Davis Peel
And we found he was real
He sang “The pope smokes dope everyday”
It is well known that the song
"Bridge over trouble water" sung by Elvis Presley referred
to the usage of drugs talking about one “silver girl”, one
expression added to the rock lingo to designate the
hypodermic needle used to inject cocaine in the vein.
The Rolling Stones used to call cocaine “brown sugar”, and
they even refer to “Sister Morphine” and “Cousin Cocain”.
The syringe used to drug oneself is called “Silver Lady”.
(Acc. Father Jean Paul Regimbal. Le Rock’n Roll viol de
conscience par les messages subliminaux.
Quebec:Editions St. Raphael Sherbrooke, 1983, p.7).
There is no doubt then that the Rock is one of the causes of
the current degeneration of the youngsters all around the
“Nobody can say that the Rock’n’ Roll influence was
wealth and positive! It is like one magic flute player,
perverted, conducting an entire generation to its
self-destruction” (Pat Boonem, The roots of
Rock’n’Roll, therefore, spread ideas, steers immoral
behavior and preaches rebellion. That is why it is a real
revolutionary action that made a deeper effect than any
other else totalitarian ideology, from Nazism to Communism.
“I feel myself spiritualized in scene. Take us as
politicians of eroticism. I am interested in all that
concerns upheaval, disorder, chaos, and above all, in the
what has no sense” (Jim Morrison, singer and rock band
leader found dead in a bathtub, probably by overdose).
Rock and Revolution
Politicians of eroticism, heralds of clutter and chaos,
advocates of meaningless action. Rebels against wisdom and
the law. Apostles of irrationality and despair. That is how
rock movement leaders confess themselves.
Some people fool themselves when judging that Rock was only
a musical revolution. It was much more. It was a cultural
revolution whose reaching goes from fashion to religion,
from taste to social behavior.
In this late XXth century, a century which watched the
birth, the triumph and the surprisingly fast and
unpredictable collapse of so many revolutionary ideologies,
from Nazism to Communism – a revolution keeps itself alive
and working and shows out as triumphant. It has imposed a
new "art", a new fashion. It wants the abolition of all
laws, rules or social norms. It imposes itself towards the
liberal society willing to make it libertarian. It demands
permissivism. Against all that is refined and aristocratic,
it shows preference for what is dirty, prosaic, lowly,
vulgar or rude. It makes the marking out of obscenity and
depravation. Being radically immoral, it demands drugs
liberation, besides free and public sex. It defends
perversions and tares. It wishes the absurd and praises the
abolition of rationality. In that which modern art has
failed, rock has succeded; it considers the ugly, the
disgusting and the monstruous as admirable things.
Worse than the totalitarian ideologies that offered the
insane hope of building an utopic or chiliastic paradise on
earth, in which there would be no miseries or harms, the
rock revolution promisses only frustration, despair,
insanity and hell. And, in spite of all this, it triumphs.
"The mixture of rythms and musical genres, of sounds and
traditions, the music goes faster than men; it managed to
accomplish this century's real revolution (...). It is, at
the same time, the mirror and the instrument of an
unparalleled cultural and political change in history." (Le
Nouvel Observateur number. 1441, 18-24, june 1992, article
of Elizabeth Schemla - La Révolution Musique, page 4) [the
translation is ours]
The exponents of the Rock movement themselves proclaim to
have done more than a simple innovation in music: they have
unchained a revolutionary avalanche.
"It is needed that we rise up on the streets because this is
the time of violent revolution" (Rolling Stones).
"Rock marked the beginning of the revolution. We have
founded a new political life with a psychodelic life style.
Our way of living, our acid (drug), our "freaky" clothes,
our Rock music, that is where the real revolution is".
The unfortunately well-known The Beatles’ band leader, John
Lennon, has declared:
"I don't like listening to people saying that the Rolling
Stones are revolutionary and we, The Beatles, are not. If
the Stones were, or are, then so are the Beatles". (Apud
Mons. R. Williamson. Revista Semper, #2, p.23).
" Rock is more than music, it is the energetic center of a
new culture and of a youth living under a Revolution".
A similar opinion was expressed by the well-known conductor
"We must face Rock’n’Roll music as being, at the same time,
a symptom and a generating factor of the revolution among
today's youths" (Leonard Bernstein, Rock’n’Roll, the Devil's
Rock is truly the
symptom and the generating
factor of the revolution (L. Bernstein), it is "the
mirror and the instrument of an unparalleled cultural and
political change in history" (Elizabeth Schemla, in Le
Take note of the correspondence of these opinions:
a) Rock is the symptom and the mirror of the mentality born
in the liberalism;
b) It is the generating factor and tool of the revolution.
Indeed it is the mirror and the symptom, because it
expresses the libertarian, equalitarian, irrational and
anarchical tendencies that liberalism and romantism put as
an ideal to pursue.
The liberalism and its artistic expression, the Romanticism,
sowed the false ideals which fruits Rock cultivates and
The liberalism wanted the man to be absolutely free of all
law coercions, regulaments, discipline and even rules of
etiquette. The parents that had this liberal and romantic
mentality, raised accordingly their kids, who coherently
took these ideas to their logical consequences. The young
rock player or adept, completely revolted, radically
anarchical, absolutely free, turn the libertarian ideal of
his ancestors into reality.
Romanticism defended the feeling on top of the reason, which
it considered to be deceitful. It denied, along with
liberalism, the existence of objective truth and it put the
feeling as being the supreme value. Naturally, this led it
to look for stronger and stronger feelings. In rock,
sensualism, sowed by Romantiscim, gets to its maximum
degree. Rock wishes for enjoyment of any pleasure, in its
highest degree, without any sort of control. It longs for
drugs to be it a source of pleasure or as a means to
anihilate and destroy reason and the rational vision of the
What Plato had once said about the power of music on his
dialogue "The Republic", we have seen it come true on our
It is, hence, natural that the lyrics of rock songs show
their revolutionary ideas expressed through the sound
For instance, check what John Lennon's song, “Imagine”,
Imagine there's no heaven,
It's easy if you try,
No hell below us,
Imagine there's no countries,
It isnt hard to do,
Nothing to kill or die for,
No religion too,
Imagine all the people
living life in peace...
Imagine no possesions,
A brotherhood of man,
Imagine all the people
Sharing all the world...
What this song preaches is the communist utopia through the
abolition of the fences and the boundaries, that is, by the
destruction of the native land and of the properties.
Evidently this communist world which John Lennon dreamed
could not have religion, nor Heaven, nor Hell. In it there
would be no reason to die for, which means to have no reason
to live for.
In the song “Angela”, Lennon demands equality as being the
highest value, denied by today's men:
They gave you sunshine
They gave you sea
They gave you everything but the jailhouse key
They gave you coffee
They gave you tea
They gave you everything but equality.
Notice how the "innocent" leader of the Beatles incites the
liberals' children against family and school:
We are born in a prison,
Raised in a prison
Send to a prison called school,
We cry in a prison,
We love in a prison,
We dream in a prison, like fools. (...)
We work in a prison (...)
We live in a prison
Among judges and wardens (...)
Mirror becomes a razor when it's broken
How many liberal and democratic parents allowed their sons
to listen to The Beatles' songs, just because "they are not
that bad"! However, they would be surprised if they were to
pay attention to what the song "Only People" has to say:
Only people know just how to talk to people
Only people know just how to change the world
Only people realize the power of people
Well, a million heads are better than one
So come on, get it on! "
Would they be astonished? But aren't in these verses the
ideals of the 89's revolution? But isn't in it all the
language of the Liberation Theology, which the democrats
In "Bring on the Lucie", Lennon sings:
We don't care what flag you're waving,
We don't even wanna know your name,
We don't care where you're from or where you're going,
All we know is that you came.
You're making all our decisions,
We have just one request of you -
That while you're thinking things over,
It's something you just better do:
Free the people now,
Do it, do it, do it, do it, do it, do it now
and 666 is your name."
The scandalous rebel Jim Morrison, on his turn, sang the
close triumph of the young-made Revolution of rock based
upon the democratic criterion of the number in his song
"Five to one":
The old get old
And the young get stronger
May take a week
And it may take longer
They got the guns
But we got the numbers
Gonna win, yeah
We're takin' over
One may understand now how truthful is the confession of the
anarchist Jerry Rubin in his best-seller "Do it".
" Rock'n’Roll marked the beginning of the revolution..."
"We see sex, Rock’n’Roll and drugs as being part of a
communist conspiracy to take over America... We combine
youth, music, sex, drugs and rebellion, all this we make it
coincide with treason, as a way to make a coherent whole, an
inexpugnable front" (Apud. Mons. R. Williamson, Revista
Semper # 2, p.23).
The hatred towards authority and the love towards rebellion
preached on the Rock songs have as their first victims the
parents and teachers of young rock adepts. At home, they
rebel against the authority of the "old ones". In the school
(prison), they subvert all order, defying teachers and
directors. How many familiar tragedies did not have their
roots on rock records that the parents allowed their kids –
spoiled and "innocent" – to listen. In São Paulo, there was
a case of a young one who killed the whole family after
listening to rock in the highest volume his sound system
Take a look now at what the song "The end" of the Jim
Morrison's The Doors band, a rebel against his father's
Ride the snake, ride the snake (...)
The killer awoke before dawn, he put his boots on
He took a face from the ancient gallery
And he walked on down the hall
He went into the room where his sister lived, and...
then he paid a visit to his brother, and then he
He walked on down the hall, and
And he came to a door...and he looked inside
Father, yes son, I want to kill you
Mother...I want to...
In Brazil, a band called Garotos Podres (which means Rotten
Boys in Portuguese), les bien auto nommés, roars in
the song “Anarchy”:
One day you will find out
that everyone hates you and want you dead,
because you represent danger to the power
They don't want you to live,
destroy the system
before it destroys you etc...
(The free translation is ours).
Therefore the revolution which Rock unchains on the souls –
as its heralds recognize – is what aims to destroy all
authority in the family, in the school and in the society.
Rock is, hence, anarchical.
III - The beat and its effects
To all this, rock’n’roll fans will respond,
insisting, that none of this interests them. What they
appreciate in rock, what they want to listen to - even if
the lyricspreach submission and
violence - is the beat. The beat is just what
matters. And, according to them, the beat does not render
Plato does not agree with this, because he affirms that
there are soft and flabby beats that should be banished.
(Plato, Republic III). Also the anarchist and rock musician
Jerry Rubin does not accept that the beat would not transmit
ideas. He wrote: Elvis [Presley] awoke our bodies, changing
them completely. The animal Hard-Rock that keeps its secret
in the powerful "beat" (this repetition of regular
pulsations combined with offbeat rhythm is the basis of
rock) would burningly get into our bodies; the entrancing
beat brings about all the passions that were suppressed
(...) Rock marked the beginning of the Revolution" (Apud Luc
Adrian. “Hard Rock, la danza del diablo”, in Jesus Cristus
Magazine, # 26. March/april 1993, p. 8).
E. R. Dodds shows how the beat of the drum in the worship
of Bacchus had an astonishing physical and psychological
effect in the bacchants, who, influenced by the drum beat
and by the sound of the flute, seemed insane. "A Delphic
tradition recorded by Plutarch suggests that the beat,
sometimes, produces a true personality disturbance (...) In
many societies, maybe in all of them, there are people to
whom, as noted by Mr. Aldous Heixley, "the ritual dances
permit a religious experience that is more satisfactory and
convincing than any other... It is with his muscles that
many people easily grasp the knowledge of the divine" (E. R.
Dodds. The Greeks and the irrational. Berkley:
University of California Press, 1963, pp. 232- 233).
...according to a Muslim wise, "he, who knows the power
of the dance, lives in God", however, the power of the dance
is a dangerous one. Just like other forms of
self-capitulation, it is easier to begin than to end with
it. In the extraordinary insanity of dancing that invaded
Europe from the XIV to the XVII century, people used to
danced until they fell - as the dancer in Bacchal 136 or the
dancer in the (greek) vase of Berlin (# 2471) who lies
unconsciously, trampled by his friends".(E.R. Dodds, op.
cit., pp. 271 to 272).
Frank Zapper, rock musician, states: "I figured that this
music takes possession of the youth, because its strong beat
corresponds to the great beats of the human body". (Mons. R.
Williamson, op. cit., p. 27).
Walter Matt writes: "The hammering of rock music aims
intentionally at sexually exciting the listeners, above all
the young ones, of course. As for this we can give a brief
explanation. Rock music almost does not have a melody, and
the lyrics almost do not have a sense – a good sense - (hélas,
sometimes it has a horrible and astonishing
senses). At last only the essencial thing remains: the beat,
and our body is sensible to it. To the members of "American
Psychiatric Association", Dr. Howard Hanson has declared:
"First, even though we take
all into account, the more the movement surpasses the pulse
beat in velocity and goes up beyond the ordinary, the more
emotional tension there is". (W. Matt, op. cit., p. 5)
He cites, yet, the
observations of Alice English Monsarrat, according to whom
with the beat of rock (...) we can produce over whatever
human organism a hysterical disintegration, as we can note
in a person who intended to go, with anger, to two different
directions at the same time (...). We have experience with
that in psychiatry: it is precisely the conflict of emotions
created by the action of two stimulants with different
percussions that conducts them to our clinics, in large
number, irretrievable pieces of humanity". (W. Matt,
op. cit., p.6)
Monsignor Richard Williamson
concluded the same thing, when he explains the effects of
the rock beat:
"Directing, with care, the
sequence of beats, says John Phillips, of "The Mamas and the
Papas" band, we can induce hysteria inside the auditory. We
know how to do it. Anyone knows how to do it. And to prove
what they said, they caused a riot in a concert in Phoenix,
Arizona!"(Mons. R . Williamson, in Semper, # 2. Revista da
Fraternidade Sacerdotal São Pio X. Portugal, p.28).
At another quotation taken from
Mons. Williamson, we are informed that : “As an example of
the medical analysis of the process through which the beat
can “break” the body, physicians observe that the autonomous
nervous system of human body is bathed by the spinal-brain
liquid, which possesses a pulsation directed in part by the
pituitary gland, which governs all the body. This gland
influences over almost every vital process of the body,
directing, for example, the secretion of hormones of the
endocrine gland of the body. So, if it gets mismanaged by
the vibrations of the "beat" (rock beat), the pituitary
gland will drag with it all the nervous system, which,
because of that, gets shed. Well, from that we can imagine
an abnormal secretion of sexual hormones, for example, what
would explain the movements of rock dances. The beat and the
dance constitutes the means to achieve the nervous system.
‘I have movies that demonstrate that the primitive beats of
an old tribe in Kenya and a band inside a disco in London
would both produce the same emotional trance’, said Dr.
Willian Faragut from the Royal Society of Medicine (...).”
"Besides, the "beat", by
stimulating the secretion of epinephrine hormone,
diminishes, in the blood, the calcium of great
importance to drive the nervous system, and sugar, the only
food of brain. So, the nerves get
depleted and the brain disarranged, after a rock concert.
This strong stimulation of sensuality and, at the same time,
depression of intelligence and reason ends in erotism and
violence; well, this suicide of reason leads to the suicide
itself" (Mons. R. Willianson, op. cit., pp. 28-29).
Father Regimbal affirms that
the "beat" can produce an acceleration of cardio pulsation
and an increase of the adrenalin tax; it can provokes not
only a sexual welfare, but even a excitation that could
leads to orgasm". (Pe. Regimbal, op. cit., p.26)
This author brings important
observations about the effects of rock beat. He cites an
article of Dr. Bob Larson and a medical crew of Cleveland,
that examined about 200 patients, habitual rock listeners.
So Dr. Larson says:
"We notice that this song
could have astonishing physical effects: alterations of
pulsation and breathing, increase of endocrinal glands
secretion, in particular the pituitary gland that regulates
the vital processes of organism. When the melody goes up,
the larynx contracts; when it goes down, it relaxes.
"The basis metabolism and
sugar tax in blood get modified during the listening. We can
consider, so, that it is possible to "play" the human
organism as if it was a musical instrument and, in fact,
certain compositors of electronic music have considered
manipulating the brain, provoking a "shock" in conscious
faculties, exactly as drugs do. The main beat in rock and in
pop music inicially conditions the body, then stimulates
certain hormonal functions of endocrine system". (Dr. Bob
Larson, apud Pe. J. P. Regimbal, op. cit., p. 32)
Note that, according to Dr.
Larson, rock has an effect similar to that provoked by
From this very article, we
want to take one more important quotation:
The well-known therapist
musician Adam Knieste, at the report of a study that lasted
ten years about the effects of rock music wrote: "The main
problem caused by rock music in the patients I treated
elapses clearly from the intensity of noise which produces
hostility, exhaustion, narcissism, panic, indigestion,
hypertension and a weird narcosis. Rock is not a harmless
pastime, it is a drug more lethal than heroin, and that
poisons the life of our youth". (Pe. J. P. Regimbal, op.
cit., p. 33)
Dr. Knieste confirms, then,
what have said Dr. Larson and even with more emphasis: "rock
is a drug worst than heroine."
Yet in the cited article of
Pe. Regimbal we extracted conclusions of the physicians Drs.
Mac Rofferty, Gramby Blaine, Barnard Saibel, Walter Wright,
Frank Garlock, Tom Allen and others. According to these
doctors, rock, with its literarily maddening beat would
provoke in the listeners, beyond other effects:
"Modifications in the emotive
reactions, from frustration to uncontrollable violence".
" Neuro-sensorial overexcitement
producing euphoria, suggestibility, hysteria and even
"Serious perturbations in
"Hypnotic or cataleptic state
which transforms the person in to a zombie or robot ".
"Depressive state turning to
neurosis and to psychosis".
"Suicide and homicide
"Self- mutilation, self-
immolation and self -punishment".
"Irresistible impulses of
destruction and vandalism".
(Pe. J. P. Regimbal, op. cit., p.
During the I World
Congress about prenatal, in Granada, studies had been
presented showing that the music of Maddonna, for example,
favors the abortion occurrence. Due to this, the Red Cross
advised the pregnant women who will assist the concerts of
rock to occupy the last rows. (O Estado de São Paulo
Newspaper March 18th, 1993, p. 15).
The dances in which
the youngsters bump against one another apparently for no
reason is common in night clubs. Nowadays many rock bands
are famous for totally destroying the expensive sound
equipment that they had used, in the end of their
"concerts". The practical of "mosh" - rock musician that led
to the euphoria, does not help himself from jumping in the
air, falling over the others – and it is another proof of
this lack of self-control that leads to violence
and uncontrollable acts.
In short, the
physiological and psychological effects of the rock beat
take the youth, as it is of public knowledge, to have
immoral attitudes that rock singers advise and praise in
their lyrics as well as in their lives, such as:
- Sexual perversions and pornography
- Drug use
- Revolts against all law and authority
- Crime and parricide
Rock e Religion
Rock fans consider the song "Stairway to Heaven", from the
band Led Zeppelin, the rock anthem. Curiously, it is a song
which begins very languidly, similar to a medieval complainte, a song of complaint, somewhat melancholic.
As the song moves on, its beat gets faster and faster, until
it reaches, at the end, the typical frenetic beat of rock
songs. Thus it sums up, through its execution, the whole
path of rock history: from its sentimental roots to its
frenetic and hallucinating beat.
However, it is not just for being a synthesis of rock beats
that this song is important. It contains in itself,
actually, a particular fascination, like a magic appeal. It
“sticks” to the memory of those who listen to it, with a
To begin with, the engravings on the record are curious. On
a painting hanging on an old and deteriorated wall, one
finds an old man curved due to the burden of a large bunch
of sticks on his back. A second engraving shows a village at
long distance and a hill which a man climbs up, crawling,
towards its peak, where a phantom-like creature stands: a
sort of a monk wearing a tunic and a cowl, who brings in his
hands a lantern where, instead of flames, an hexagonal star
shines. He looks downwards, to the man who climbs the rocky
slope, fascinated by the glowing of the star.
Now, this hexagonal star is the alchemic star, the cosmic
hexagram, the seal of Salomon, the star of the wizards. It
is formed by two triangles that overlap one another,
denoting the union of the divine with the human, the
superior abyss and the inferior abyss. The triangle with has
a vertex downwards represents, at each of its vertices,
minerals, vegetals and animals; the triangle with a vertex
upwards represents, at its vertices, the dew or rain, the
sea and the earth. This cosmic hexagram is often surrounded
by symbols of metals and planets and by the ouroboros snake,
which swallows its own tail. This cosmic hexagram is found
on Aurea Catena Homeri, famous alchemic work. (Cf. Ronald B
Gray, Goethe, The Alchimimist. CambridgeUniversity
Press. Prancha I and Fulcanelli, Le Mystère des
Cathédrales. Jean Paris: Jaques Pauvert, 1964, p. 66).
The song lyrics are printed on gothic characters, and a
small engraving shows a man reading, thoughtfully, an old
book with metal latches. According to Luc Adrian in the
article Hard-Rock, La Danza del Diablo (Jesus Cristus # 26,
March/April, 1993. p. 8), on a cover of the record of
Stairway to Heaven, one would find the following piece of
information: "By listening to this record, the young lads
are under an enchantment, are dominated and driven by hidden
forces, demons. This can lead to demoniac possession".
There’s a lady who’s sure all that glitters is gold
And she’s buying a stairway to heaven
When she gets there she knows if the stores are all closed
With a word she can get what she came for.
There’s a sign on the wall but she wants to be sure
Cause you know sometimes words have two meanings
In a tree by the brook there’s a songbird who sings
Sometimes all of our thoughts are misgiven.
It makes me wonder…
There’s a feeling are get when I look to the west
And my spirit is crying for leaving
In my thoughts I have seen rings of smoke through the trees
And the voices of those who stand looking.
And it makes me wonder…
And it’s whispered that soon if we all call the tune
Then the piper will lead us to reason
And a new day will dawn for those who stand long
And the forest will echo with laughter.
And it makes me wonder…
If there’s a bustle in your hedgerow don’t be alarmed now
It’s just a spring clean for the May-Queen
Yes there are two paths can go by but in the long run
There’s still time to change the road you’re on.
And it makes me wonder
Your head is humming and it won’t go
In case you don’t know
The piper’s calling you to join him
Dear lady can you hear the wind blow?
And did you know your stairway lies on the whispering wind?
And as we wind on down the road
Our shadows taller than our soul
There walk a lady we all know
Who shines white light and wants to show
How everything still turns to gold
And if you listen very hard
The tune will come to you at last
When all are one and one is all
To be a rock and not to roll.
Weird song! What do these mysterious lyrics mean? Of course
a few people understand them. Here and there, a verse give a
glimpse of something. Enough to awake curiosity. Enough to
let one realize that there is something hidden within.
Something that immediately hides itself under the thick fogs
of the next verse, which is even more mysterious. This song
is like a veil that hides and reveals. It claims for being
deciphered. Obviously, those who realize that there is
something mysteriously hidden within it, they will try to
climb up its hill of mystery, where, at the top, there is
someone, even more mysterious, who shines a torch at night…
Who is this lady about whom the song talks?
About her, it is said that she wants to buy a stairway to
heaven. She judges that all that glitters is gold. Her
stairway lies on the whispering wind. It is also said that
we all know her and that she wants to show that it is
possible to turn everything into gold.
Now, the claim of transforming everything into gold is the
dream of the Alchemy, esoteric science, founded on a Gnostic
conception of the world. According to the Alchemy, gold
would be the fundamental and primary substance of all
things. That would be the reason why all things would have a
certain glow. Even coal could be transformed into light, or
into a shining diamond. Even the most opaque matter can, by
friction, start to glow.
Nevertheless, for the Alchemy, the real result of the real
art is not that of transforming lead into gold, but to
transform the alchemist into God. The gold which was
supposed to exist, as fundamental element of all things was
nothing but a symbol of the divine pneuma – the
divine spark – that lays imprisoned deep inside all beings.
More than transforming all into gold, it would also be
required to transform all into God, freeing all divine
sparks from the matter, reason and moral prisions.
Now, Alchemy was represented in the Middle Ages as a woman
holding a nine-step ladder, standing over the ground, and
supported by nothing, that is, it reaches the clouds touched
by the wind.
This representation of Alchemy can be seen carved on the
doorway of Notre Dame Cathedral, in Paris. The most
important alchemic work of our time – Le Mystère des
Cathédrales – from Fulcanelli, presents an illustration of
this carving. (Fulcanelli, Le Mystère des Cathedrales.
Paris: J. P. Pouvert, 1964. pp. 32-33, pranche II).
Right after the introduction of the alchemic lady, the
lyrics say that she is buying a stairway to heaven, that is,
a path to achieve absolute happiness. She acquires it with
her own strengths, and the stairway is a natural path to
reach divinity. That stairway is the scala philosophorum,
symbol of patience that every alchemist must have through
the operations of the hermetical labor (cf. Fulcanelli, op.
cit., p. 90). It is then explained that if the "stores" –
that are the compartments, the celestial spheres, the ayon in the Gnostic language – are closed, she could
open them with a word.
Now, according to many Gnostics, the god who created the
world – the evil god – would have imprisoned the divine
particles in the material universe, which would be kept by
an archon, a diabolic spirit. When man dies, his spirit
would seek to get across the spheres that surround the
earth, but would only be able to go through them if he knew
the magic word that would open them or if he knew how to use
the sign that marks them. (Cf. Hans Jonas, La Religion
Gnostique. Paris: Flammarion, pp. 63-64).
However, if the spirit made a mistake in the password or the
receipt, he would fall again into matter, not reaching
“heaven”, that is, his freedom and divinization, but he
The song makes reference to a bird that sings in a tree.
Now, in the same book from Fulcanelli, it is reproduced
another carving from Notre Dame doorways, in Paris, which
illustrates an alchemist at his “laboratory”. There one can
see the alchemist under the appearance of an old man leant
over a staff along with the cave that represents the
alchemic laboratory. At his feet spouts the spring
“magnesia” from which comes mercury, requires for the
alchemic work. It is this clean spring which flows towards
Queen of May that the song makes reference to, in one of its
verses. Next, in a tree, there is a bird singing which,
according to some authors, represents the bird phoenix,
symbol of the divine spirit that exists in the bottom of the
The song also warns us that “all of our thoughts are
mistaken”. Indeed, for Gnosis, intelligence would have been
given to us by the evil god at the time of our creation in
order to deceive us. The evil demiurge would have built an
intelligible world and would have made us intelligent so
that we, understanding the world, considered it good, and
desired not to leave it. For this reason, intelligence would
always lead us to error.
Afterwards the song states that, by looking west, that is,
to the direction where the sun dies, the singer would get
dominated by a feeling and that his spirit cries to leave
his body, that is, to die. Because for Gnosis and Alchemy,
death would be the only means for a man to free himself from
And it is important recalling that East is one of the names
that the Holy Scriptures give to Christ, and that,
therefore, the West is the opposite of Christ, in other
words, devil and death.
And all that makes the singer willing for more, astonished…
It would go beyond the scope of this work to make a deeper
analysis of this song. We only wanted to show that it is
proposes, in a veiled fashion, a Gnostic view of the world.
That is why it finishes saying that in the end, we will all
be one only thing and that the “one” is all. When we, at
last, become the “one” with all – that is, God, then we will
be “rock” – fixed – and then we will not be subjected to
evolution. “To be a rock and not to roll…”
The author of this song “Stairway to Heaven”, Robert Plant,
declared: “I have received the lyrics (from the song)
instantaneously, and I have not changed anything. I am proud
of them. I think that someone whispered them to me.” (Cf.
Luc Adrian, quoted article. In Jesus Cristus #. 26, p. 8).
There is in rock’n’roll, therefore, a secret religion,
Gnosis, which, at heart, worships Satan.
According to some, the same song, if played backwards, would
allow one to listen to satanic phrases, exactly at the
excerpt where it is said that the human spirit cries for
leaving, when it looks West, symbol of death. At this point,
the following words would be listened: “I’ve got life for
And that introduces the problem of subliminal or hidden
messages in rock.
”The Nazarenes will never rise.”
That is the apostate scream that rock’n’roll makes young
It is evident that many young people that love rock will say
they do not accept satanic rock, nor what is called “heavy
rock”. This argument proceeds as much as the one of the drug
addicted who argues he does not to accept cocaine, just
light drugs. He, who is addicted to light drugs is a drug
addicted. He will usually end up using heavy drugs. Now, the
addiction to light drugs is also an addiction, it is also
condemnable. The satanic or heavy rock has made explicit, in
clear terms, what the hallucinating beat would have
subjacent to it - and consequently, irrationally - and what
has been part of rock magical appeal ever since. The denial
of reason and the placement of the sensation as value to be
looked up to meant a denial of the wisdom that man reaches,
supernaturally with the grace, and naturally by means of his
intelligence. The repudiation of reason spread by the
Liberalism and Romanticism meant the refusal of the truth.
However, the Truth is Our Lord Jesus Christ.
"Ego sum Veritas, via et vitam" (Jn). Is it any
strange, then, that this denial of the Truth - Christ –
would end up leading to Satanism?
Rock seems to us an intrinsically bad musical gender. It is
not possible to accept it. The Church placed harsh
censorships against other modern beats such as waltz or
tango. What would Saint Pious X say about rock? And how
would he consider the priests that want to use a satanic
rhythm even in the Masses to attract the youths?
What attracts the masses is Christ: “And I, if I
be lifted up from the earth, will draw all things to
myself.” (Jo 12, 32)
It is not allowed to the youths to surrender to lowest
sensations – for that will never elevate them until the
sanctity nor take them to heaven.
To save the youngsters of our days it is necessary to make
them love the true beauty of good music, which mirrors the
infinite beauty of God. It is necessary to make them love
heroism and sacrifice – which is Christ's cross - and not to
endow them with pleasure. It is necessary to make them love
the truth, so that they have wisdom. Only by doing so, new
Nazarenes will rise.
God, who is capable of making sons of Abraham out of rocks,
is also capable, in its merciful omnipotence, to take poor
souls out of the evil rock path and to transform those who
give themselves to Satan into new Nazarenes. That the
Virgin, Queen of all beauty, very soon work such miracle.