Title: Catchy Melody! Can't Get It Out Of My Head! Source:
Tavistock Institute-Committee Of 300 URL Source:http://www.illuminati-news.com/rock_and_mc.htm Published:Aug 13, 2010 Author:HOUNDDAWG Post Date:2010-08-13 05:46:30 by HOUNDDAWG Keywords:sausage pull Views:544 Comments:38
Among the conspiracies attributed to The Tavistock Institute was the creation of the 12-atonal system of "music".
This is defined (by wiki-another conspirator-come-lately) as "...a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any[2] through the use of tone rows, an ordering of the 12 pitches. All 12 notes are thus given more or less equal importance, and the music avoids being in a key." link
The resulting music (which sounds like a cat walking on a piano played at high speed) was supposedly coupled with the planned social decay and youth rebellion that was The Beatles.
Now, as much as I love conspiracies, particularly those that accuse govt think tanks and NGOs of the most evil agendas, I really can't embrace those that just don't make sense to me. Below is an example of the 12 tone system by The Bill Evans Trio, and when I compare it to the absolutely "FAB" music that was released under The Beatles' name, it just doesn't add up.
Beatles tunes had a way of sticking in my head and making me green with envy because I didn't write the songs. But when I listened to the Bill Evans song the one thing I couldn't honestly say was "Catchy Melody! Can't Get It Out Of My Head!".
Bill Evans Trio - Twelve Tone Tune Two (Denmark 1975) part 5
Poster Comment:
If you had the choice of ghost writing Beatles songs to further some long term evil lizard skullduggery or being famous (and rich, popular at parties and sexually exhausted) for your timeless compositions, which would you choose?
I mean, if someone had the ability to win every time at the track, in Vegas or in the stock market, would they be more likely to sell that skill for a salary and modest govt (or sheep dipped cover story) pension or, to go into biz for themselves?
Of course a truly demonic entity may have been able to touch the souls of young people with great rhythms, lyrics and melodies and remain immune to it, too. But, I find it implausible in the extreme that anyone who could compose timely tunes with such mass appeal would choose to function as an anonymous bureaucrat/enemy agent in some lofty British circle jerk of an institute.
#17. To: Jethro Tull, christine, X-15, bluegrass, James_Deffenbach (#5)(Edited)
I actually learned TAKE FIVE when I was about 15 yrs old.
Of course I played it in the guitar friendly key of A minor (actually C key signature) instead of Paul Desmond's sax key of E flat minor (G flat key sig) My percussionist brother actually attended several of Joe Morello's local drum clinics, too. Back then it just wasn't that strange for rock musicians to know who Dave Brubeck & Co. were.
Those types of local guitarists were my early influences, and even my first club band used TAKE FIVE as a break song. Back then it was kewl to play rawk and Tawp 40 and to throw in a jazz standard in 5/4 time on occasion.
And when it came time to select a guitarist for the money making road show bands I was the kat because I could play that stuff, i.e. Misty, Shadow Of Your Smile, Carlos Jobim, etc., and the pop list.
It's interesting to note that TAKE FIVE and The Allman Bros WHIPPING POST were the only songs I ever recall playing with non standard (4/4, 3/4, 6/8,) time sigs. WHIPPING POST begins with an 11/8 sig then adds a beat becoming 12/8 when the singing starts.
I soooo suck at time signatures. My band gives me endless guff for it. Being an autodidact, I let them start out the funky stuff and then just fall in. Afterwards, one of them will ask me, "What was that in?" and I usually just say, "Something not 4". The bastards. But they keep playing with me anyway, year after year.
It all works out. The banjo player can't ever tell what key we're in but he shreds it anyway.
Counting is automatic with me. No matter what I'm doing (playing, singing, dancing, flirting) I know what beat of the measure I'm on.
I made a point of counting off the songs (that didn't begin on the downbeat of one, requiring a simple 4 count from the drummer) when I played with un-schooled country players for two reasons; I wanted them to understand that a pickup riff starts on 3 or 4 before the first bar, and, I wanted them to get the tempo right rather than scramble for the first few bars until things "solidified".