"Let us use this land to the full cup of our potential! Let us understand that illumination and its flame must not be snuffed out in this land—as youth are in delirium and their senses dulled by drugs and rock, and think of no other thing but lyrics that take them down and down again to a lower level and therefore deprive them of the blossoming of the yellow fire of the crown!"

" . . . the rock stars vent their rebellion through their sounds that can only be the sounds of hell and not the sounds of heaven?

"Yes, they are revving up their engines of anger. Beware of them, for that is what a rock concert is all about. It is the venting of anger by certain rebel angels who are not desirous of rising to the level of the angels of Light. And therefore because they themselves would not rise, they would pull down and they have pulled down, by the use of their amplification systems, the youth of several generations now to the lowest levels of a common denominator of darkness in the astral body and the astral plane.

"Go not the way, then, of those who appear harmless and yet are the instruments of great harm. Whether they themselves are harmful or whether they be simply the instruments of harm, what is the difference? The harm is done and it is done to the little children. It is done to the womb of the mother, to the seed of the father, and to the light of the eye and the crown of the halo that belongs upon your heads."

"The destructive energies which poured through the Beatles and entered the subconscious minds of the youth, popular though they were in the world of form, are gradually working their way to the surface, revealing their true colors and Satanic origins. These unholy emanations have drawn many young souls into the mistaken belief that the taking of drugs, the practice of witchcraft, and illicit sex can give them freedom from all imposed limitations. Instead, these indulgences have held them in bondage to the legions of darkness.

"Would it not be, then, of greater value and virtue if the resurgent power of regeneration were allowed to come forth through many hearts as a great cosmic flow? The forward movement of this flow is able to engender in men a spirit of willing acceptance of cosmic beauty, which in turn brings about the flowering of hope in the youth—hope for a greater measure of inward satisfaction, hope for a greater measure of attunement with the realities of the universe. For the tides of reality continually pour through the cosmos whether man is aware of them or not.

"The certitudes of life are often unknown by the young in heart who, while they are borne upon the tide of human events, are seldom able to compass those events with a relevancy that would give greater meaning to their lives.

"I am therefore advising all to eschew the evil and darkness that enter the forcefield of the four lower bodies when the attention is placed on the jangle of modern jazz. I advise all who would
truly be alchemists of the Spirit to seek out the classical music of the world’s greatest composers
—of Beethoven, Bach, Chopin, Haydn, Handel, Wagner, Liszt, Mozart, Mendelssohn, Mahler, and many others who have been commissioned by the Brotherhood to bring forth the music of the spheres."

"You have to realize that when you have allowed this music to be recorded upon your being not as we are studying it, but especially as background music when it enters the subconscious that it remains there and it begins to program your energy so that long after you have actually listened to the music you are hearing the playback in your subconscious.

" . . . This is the age of the return to the Sons and Daughters of God of the Science of the Spoken Word. This is the gift of voice, and the voice of God which speaks through us. In the hour of this alchemy when, by that science, the full power of the God Presence comes to us, we find the ultimate perversion that comes out of the voodoo, the original voodoo perversion of the mother. At the level of the throat chakra we find the coming of Rock and Roll.

" . . . There was a great deal of communist input during this period. J. Edgar Hoover said, 'The war between Communism and the free world is not fought with bombs or other tangible weapons. It is being fought now by subversion through the medium of idea[s]. It is not an accident that the greatest concentration of communist workers has been found in three fields, education, union, and entertainment. These are the areas where ideas flourish and thinking patterns are formed.'

"What was motivating this culture shock in America? Within a decade, Rock n' Roll, rebellion, sexual liberty, protest, and dope became the marks of a hip lifestyle. It began in the music. Without the music, that could have never taken place. Without the music the drug culture could not have happened. Without the music there could not have been rebellion. There could not have been the taking and misusing of the authority. We find then that the plan of takeover does not begin in the people of nations, it begins in the fallen ones, in their conspiracy working in the souls of light of all nations. It not simply a communist plot, it is the conspiracy of those who are Anti-God, Anti-Life, and Anti-Soul.

" . . . What we find then in the point counterpoint activities of the fallen ones, is always the pre- empting of the next cycle that God intends to bring forth on earth. And therefore the revolution of the fallen ones takes place just moments before the coming revolution of the mother and her children which is a revolution in higher consciousness.

" . . . The sinking of the British Isles economically, has come through witchcraft and the two pronged force of the Beatles and the Rolling Stones."

" . . . The Beatles were mainly responsible for introducing drugs, witchcraft, and sex into music making people believe they were following a course to freedom. They were the perversion of the four petals of the mother in the four lower bodies, each having a birthday, ironically, in each of the four quadrants. Their music shocks the heart. It shakes the whole being until it cracks. They have been said to be the four horseman of the apocalypse bringing the complete destruction of the platform of evolution.

" . . . And you see, all government, is the government for the unfoldment of that Christ Presence. And therefore, those who rule without that motive, have no right to rule. All rulers are the servants of the people. They are the servants of the Christ in the people. And those who are in positions of power, wisdom, or love, usurping the positions of the throne of the Trinity in government, economy, science, education and culture, have no right to be there if they do not have this basic principle, I Am the Servant of the Christ in the People. And Christ in me is that servant, and is that one who governs, who performs the work.

" . . . The connections of Rock to Satanism and Voodoo are clear . . . Without Rock Music, the work of Anton Lavey and the Satanist Church would've had no foothold in the United States. It was through music and music alone that thousands of people have been drawn into that absolute rebellion against the Real Self.

" . . . We come to Alice Cooper, son of a Baptist minister, who described the secret of his success. He said he surrendered his body to a demon who promised him worldly success and fame. On stage he makes love to a live six foot snake, chops up a large doll, makes love to the corpse, and hangs himself on a gallows. He and his group represent the fallen Atlanteans who come out of the compound. They have not been allowed to reincarnate since the sinking of Atlantis which was the flood of Noah. They were confined there by edict from God. The Lords of Karma allowed them to reincarnate in this century for the final chance of soul liberation.

"Here is a baby on which he has smeared black ink over the eyes. The child is in agony. The child is sitting in a pile of money. You are looking at the faces of the living dead. They have already spent the complete energies of their soul chakras. What is coming through their music is total misqualification of that energy as they replay it, and reamplify it through. They are existing off of the energy of those who listen to their music, applaud, cheer, scream, and allow their chakras to be depleted. And so with each record, and each concert that they give, they amass in tremendous quantities of energy. And it is on this energy that they live. Without that energy they would not be alive because they have already squandered their own. This is true of many of the rock groups today. Remember the name, The Grateful Dead. The Grateful Dead are the living dead who are grateful for your light given to them as you listen to their concerts.

" . . . We see that in a short decade, and even in a hundred years, the misuse of sound can completely wipe out what has taken thousands of years to build. Should we think that somehow we are the exception that perhaps today it will not happen, cataclysm will not come? Mu sank so long ago we can't remember. Atlantis is in the distant past. So why should we believe that continents can rise and sink by the power of the word?"

The Judgment of Abaddon’s Angels Who Are of the Rock Beat

"I speak, therefore, from the living heart of the Cosmic Christ. And I AM Maitreya. And I come with
a sword, and I come with a flaming sword, and I come in the very midst of the Word. And I say to you that these fallen ones, every one who has presented himself/herself before the people of earth on this stage of life to send forth the infamy of Darkness in the rock beat—each one is presented before the judgment of the people and the judgment of the Four and Twenty Elders. Thus they are called for the judg­ment in the earth, for the Four and Twenty Elders have gathered and have sealed themselves in Los Angeles and they have not been moved since the hour of their coming.

"And therefore the trial is held and therefore they have made their statement. And by their fruits, by the vibration of their consciousness and their anger and their violence and their condemnation and their sympathy for the seed of Darkness and for mechanization man, they are judged—each one according to his works, each one individually. And therefore, fear not. For if any have Light, therefore the Light itself shall exalt and shall justify. But if the Light that they have be turned to Darkness, how great is that Darkness!

"And therefore, the man who does come with the rod to measure Jerusalem has indeed come. And that manifestation of God is the Universal Christ and the twelve mighty archangels who assemble because the ruby-ray judgment has gone forth.

" . . . Therefore, beloved ones, understand the attempt of these fallen ones of Abaddon and those who have come forth out of the bottomless pit. Understand their desire to justify themselves by espousing a good cause and backing it with a bad vibra­tion. The LORD God will not be fooled! As it is written, the LORD will hold them in derision. Therefore, we say again, 'Let them howl!' They have no power, their day is done!

" . . . And there is a difference, beloved ones, between Evil and error. [Absolute] Evil is the Darkness espoused by the rebels against the Most High God. It is an energy veil spawned for a purpose and that is to cloud, to hide, to confuse the ineffable Light of God. It is a modus operandi for an end: and that end is the total destruction of the souls of Light.

"Therefore, those who practice Absolute Evil by being the mouth­piece for the angry ones and
the rebel ones and the forces of Darkness, those very ones now attempt to say, 'We are not Evil
[i.e., of the Evil One]. Perhaps we have gone astray, perhaps we are in error. But because the lightbearers do it also, therefore we too come under the canopy of the mercy of God that does endure forever.'

"Thus [by specious reasoning] they have sought to enter in—into the very tryst and heart of the Holy of Holies of the Cosmic Christ and the lightbearers of Sanat Kumara.

"I say, They shall not pass! They shall not pass on this the Lord’s Day of the judgment of the ruby ray, which they have sought to deflect, to dodge, to circumvent. Yet they have not accomplished their end, for they are exposed!

"And what of the people? Those who have shared in their vibration by an inner conviction, [those who have participated in the works of the workers of iniquity] by an absolute confirmation of that Evil that does work through them, are similarly judged."

I would like to address you on the war of the dragon that is being waged against the seed of Light on earth. Today it is the sons of Satan against the sons of Christ and the sons of Sanat Kumara, the Ancient of Days. This war is being waged against our youth in the form of rock music. We must tackle this dragon head-on.

We the people of America are at the point of the initiation of our Christhood where we must descend with Archangel Michael into the astral pits of Death and Hell for the binding in the name Jesus Christ of the foul spirits who prey upon our children and teenagers. Therefore, Keepers of the Flame, here is my exposé on “Rock and Roll in America”:

Rock music was forecast in Revelation 9 as the first woe which was to come upon the earth. I choose to preface my lecture by giving you Mother’s teaching on Revelation 9—a startling prophecy of the coming of the fallen angels with their rock music and drugs—recorded 2,000 years ago by John, the beloved disciple of Jesus.

1. And the fifth angel sounded, and I saw a star fall from heaven unto the earth: and to him was given the key of the bottomless pit.

With the sounding of the fifth angel, Archangel Raphael, John sees an angel fall from heaven who is given the key to open the bottomless pit. This sounding of the tone of karma keys the cycle of a planetary reckoning of the perversions of the Fifth Ray (including mankind’s misuse of the science of sound in the third eye).*

As it is recorded in Revelation 12, certain angels called Nephilim <1> were cast out of heaven
into the earth by Archangel Michael for their misdeeds before the throne of God and their blasphemy toward His Son. Upon taking embodiment midst the people of earth they went forth to make war against the remnant of the seed of the Divine Mother by way of carrying out their agenda of revenge against the Ancient of Days and His servant-Sons in heaven who had decreed their banishment from the heavenly courts.

Their Absolute Evil carried out in the antediluvian epoch evoked upon them and their followers the LORD’s judgment and the ensuing cataclysm, the Noachian Deluge, i.e., the sinking of the continent of Atlantis. Therefore, these spirits of Antichrist who perverted the sacred life-force of the Mother on Atlantis were bound by the Archangels and cast into the bottomless pit and here they have remained by edict of the Lords of Karma for approximately 11,600 years.

This judgment of the fallen angels was to afford the Children of Light and the Sons of God renewed opportunity to rise in the dominion and the mastery of the Mother flame (the ascension flame) in the seven chakras. And it was decreed that in that hour when the Lightbearers should once again have the full teaching of the Divine Mother, the Universal Christ and the Ancient of Days through Moses and the prophets, Gautama Buddha, Padma Sambhava, Confucius, Lao Tzu, Lord Jesus Christ and his apostles (as well as the instruction of the enlightened ones and the world teachers who appeared on every continent) and when they should have, by the Great Law, attained to a certain mastery on the path, these rebellious angels would be loosed out of the bottomless pit.

It was the intention of Elohim that the fallen angels should be given the opportunity to undo their evil deeds which had caused the sinking of a continent, and that if they would not repent of their deeds, the Lightbearers themselves, having the memory of their destructive misuse of sound, energy and technology, would prevent them from wreaking the same holocaust in this age.

Therefore, by 1939 at the beginning of World War II these fallen angels, bound since the days of Noah, were allowed to reincarnate and they came to their maturity in the sixties. And what they unleashed through their rock music and drugs were the momentums of the last days of Atlantis.

Many parents and teachers of the sixties failed to set an example of a path of Christhood to their sons and daughters and were themselves corrupted, although they had had 12,000 years to pursue such a path—unto this twentieth-cen­tury day of reckoning when the people of earth should be called upon to challenge once and for all the destroyers in the earth.

And therefore, when the angel fell from heaven and opened the bottomless pit, having the key to unloose both the fallen angels and their karma, all vileness erupted. As of old, they corrupted the physical plane through the rhythm and the sound of rock, and the youth followed the fallen angels —the rock stars that had long ago fallen from heaven and beguiled the sons of Jared to descend the mountain of God to the valley below. <2>

And the youth had no shepherds and they accepted no spiritual leader and they did not hear the voice of Mark Prophet crying in the wilderness, giving to them all that they needed to overcome Death and Hell and to get beyond what was unleashed to their destruction as a karmic retribution on the earth.

Therefore, the prophecy is given concerning the angel who was given the key:

2. And he opened the bottomless pit; and there arose a smoke out of the pit, as the smoke of a great furnace; and the sun and the air were darkened by reason of the smoke of the pit.

We have been told of the opening of the pits of Death and Hell under various areas of the
planet, not one but numerous interconnecting focuses of the bottomless pit—like a labyrinth honeycombing the earth. The unlocking of the bottomless pit has allowed the fallen angels who had been sealed there to come out of these pits to take embodiment midst the people of earth.

Hence, the darkening of consciousness through the rock rhythm and through marijuana, which is the smoke of the pit, the clouding of the mind through Cannabis sativa and cocaine, their hedonism and existentialism—and then the cloning, the programming, the penetration unto the seed of God of the genes of the Fallen One.

These rebellious angels are referred to in verse 3 as ‘locusts’:

3. And there came out of the smoke locusts upon the earth: and unto them was given power, as the scorpions of the earth have power.

Therefore, we have seen a plague of rock musicians and rock groups, and all of them venting the sounds of Hell sounding veritably like the sinewy whine of an oncoming swarm of locusts. Of the Seven Archangels who sound their seven trumpet judgments, five had sounded their tones prior to the opening of the bottomless pit. And the fallen ones have responded defiantly with their synthetic sounds and their strident tones from Hell. And those who align with Light align with Light, and those who align with Darkness align with Darkness.

And so there is a rallying of forces and there is a polarization and there is open warfare in the earth by the seed of Darkness against the Children of Light. And the Sons of God must come to their rescue before it is too late. But where are the defenders of youth? The plague of locusts is covering the earth with the Martian-originated agitation, apathy and atheism <3> of rock music and of the fallen stars and their fans. And the resonance and the rever­beration of their destructive vibration is shaking the very planet from its moorings.

4. And it was commanded them that they should not hurt the grass of the earth, neither any green thing, neither any tree; but only those men which have not the seal of God in their foreheads.

5. And to them it was given that they should not kill them, but that they should be tormented five months: and their torment was as the torment of a scorpion, when he striketh a man.

You will notice that they do not have the power to kill those whose names are not written in the Book of Life but only to torment them. From this we conclude that those whose names are written in the Book of Life—the name I AM THAT I AM written in the threefold flame of their hearts (who have the seal of God in their foreheads)—cannot be touched by rock music and drugs. Or, if they encounter and even entertain the subculture of the fallen angels for a season, they are quickly healed when they are rescued by the legions of angels of the Fifth Ray who serve with the Beloved Mother Mary.

Therefore those who came out of the pit were able to rally to themselves all of mechanization man, the plastic people created by other higher-ranking hierarchies of fallen angels who were cast out of heaven and long ago took embodiment on planet earth.

But there were some who had light yet had not been sealed in their foreheads by the name I AM THAT I AM. For they had not received the Word of the Universal Christ through the servant-Sons of Sanat Kumara and therefore their third eye was not sealed with the consciousness of God and his Law.

And so neither the inner vision nor the soul were protected. And these also responded, not to the true prophets teaching the way of the opening of the chakras by the eternal AUM and the soundless sound, but to the false prophets of Hell—the false gurus of the sixties and their false sounds and prophecies (the lyrics of the rock songs)—absent the internal harmony of Alpha and Omega.

Therefore the torment of the people who came under the spell of rock music was the torment of the perversion of the five secret rays, the five circles of light which cradle the heart chakra. And the torment is evident on films of early rock concerts—of young girls screaming, fainting, going into contortions, even orgasm.

This takes place because the five secret rays of the virgin light of the Mother are violated and the youth are being stripped of the energy that is necessary not only for the protection of their chakras (most especially the heart), but also for the guarding of their life and of their entering in to the secret place of the Most High—which is their birthright.

Now, Scorpio is the sign of the piercing ray of the All-Seeing Eye of God. The scorpion is the lower symbol of this sign of the zodiac, the eagle being the higher. Those who have come up out of the pit purveying their rock music and drugs carry the scorpion’s sting in the third eye through the perversion of sound and of the science of the Word in music. The elixir of life and the sweet nectar of the crown chakra (as well as the life-force in the base-of-the-spine chakra) are violated through hallucinogenic drugs which stimulate by the scorpion’s sting, which is the sudden release of the light of the chakras by chemical induction.

6. And in those days shall men seek death, and shall not find it; and shall desire to die, and death shall flee from them.

Out of the pit, then, comes the Death-and-Hell vibration of the fallen ones who themselves desire to die. But they do not die. They cannot die, for they have never lived... <4>

And therefore we hear the rock groups singing about death, desiring death, calling for death, calling to Satan, and yet they die not. The candle of selfhood may have been extinguished by the blasts of their blasphemy, they may be the hollowed-out ones revived each Hallowe’en as children put a candle in a pumpkin to remember “the grateful dead”—but they still have a physical existence. They desire to be no more, to cease to exist. So until the final blackout they sell their wares of death to innocent Children of Light or other empty heads like themselves.

7. And the shapes of the locusts were like unto horses prepared unto battle; and on their heads were as it were crowns like gold, and their faces were as the faces of men.

The crowns of gold can be taken to mean the technology used by the rock musicians. This, taken literally, could be a radio headset microphone or, more figuratively, all of the technological paraphernalia—from amps, keyboards, and computers to elaborate lighting and stage equipment. And though they are devils they have the faces of men. For when they were cast down into the earth, they were cast in the mold of Homo sapiens. And this is the mask we have to tear off of them. <5>

8. And they had hair as the hair of women, and their teeth were as the teeth of lions.

The fallen Atlanteans at the time of the sinking of the continent also had long hair and when they reincarnated they once again took up the custom of their long hair (for they had had no forward evolution in embodiment between then and now). Their hair is the sign of their rebellion against Christ. Long hair in the divine sense is a symbol—almost a badge—of attainment.

We see this in the story of Samson. When he lost his hair, he lost his power. Thus, the long-haired rockers, in keeping with their tradition of taking heaven by force, <6> seek to elevate themselves to heights of mastery they have not attained to through service to Life. Only a man having the attainment of Christhood as Jesus did may wear long hair as a woman. And their lions’ teeth signify their devouring of the light of their followers and their perversion of the throat chakra.

9. And they had breastplates, as it were breastplates of iron; and the sound of their wings was as the sound of chariots of many horses running to battle.

Having never seen a rock star or his equipment, John the Revelator describes their guitars, drums and synthesizers as breastplates. He perceives that these fallen angels are misusing the power of their wings (their Gemini instruments)—that are of the air element and the sacred fire breath they once had from the Holy Spirit—in order to create a horrendous sound, electronically amplified, of “chariots of many horses running to battle.”

If you were seeing this prophecy of twentieth-century Armageddon and hearing its sounds —seated in a cave on the isle of Patmos where John at the age of 94 wrote the Lord’s revelation —how would you convey the awesomeness of this modern-day scene of Hell’s angels?

10. And they had tails like unto scorpions, and there were stings in their tails:

And their tail is the misuse of the sacred fire of the Mother, the base chakra. And therefore they sting by the misuse of the sexual energy or by needles pumping drugs into their veins. The sting of the sexual energy when perverted through the black arts is death.

10. and their power was to hurt men five months.

And that five months—as cycles of putting on one’s Christhood through the Sacred Heart of Jesus —goes on and on and on until there is the conclusion of each individual’s initiation in the five secret rays. And if one does not ultimately pass the initiation, his heart chakra is stripped (by his own self-abuse) of the five circles of light of Elohim, of Alpha and Omega.

The number 5 also relates to precipitation by the Elohim of the Fifth Ray whereby sound results in creation in the physical plane—”In the beginning was the Word...and without the Word was not any thing made that was made . . . ” <7> The fallen angels are using the sound of the Word not as co-creators with God but as destroyers of the bodies, minds and souls of His own.

The power that is given to them to hurt mechanization man for five months is to turn and rend the people who are the godless (for they do not have the seal of God in their foreheads), that is, to turn upon them their own karma. In addition the fallen rock stars are given the power of the electrical energy without which they could not produce the sound.

It’s tens of thousands of watts that are at the command of these ‘musicians’ who are really nothing but hellions out of the pit! This is a multiplication factor of 20 million, if you consider a pressure of one ounce on a guitar string moving it 1/4 inch, as compared to 35,000 watts, a typical concert power level. <8> Such an increase of power, or gain factor, is so large that it would make a bulldozer operator feel weak by comparison. Without this there would be no rock music, with the exception of the jazz and tribal African music from which it originated.

So rock music and the drugs that came with the fallen Atlanteans who have come up out of the pit are the first of the three woes <9> which come upon the inhabitants of earth by reason of the trumpet judgments.

And this concludes my introduction based on Mother’s teachings. Now I would like to expose these fallen angels so you can know them by their present-day fruits. Because they really are a woe upon the earth. They are not only a part of Death and Hell but they are a direct part of the International Capitalist/Communist Conspiracy. Without rock, Communism could have made no inroads into America. And without Capitalism neither rock nor Communism would have had the technological backing to fly.

Whereas the Sons of God and their path of individual initiative are “from above,” as Jesus said, rock and Communism are both “from beneath” <10> out of the bottomless pit, hence they have
the same vibration, hence they are mutually reinforcing. They are members of the same team. This startling conclusion will be borne out as my exposé unfolds.

The coming of the forerunners of rock music, then, in the late fifties (pegged astrologically by Mother as December 31, 1959), was simultaneous with the coming of age of the reincarnated fallen Atlanteans. When you think about a generation of the seed of the Wicked One being confined on the lower astral plane in what is known as “the compound” and not being allowed to see the light of day for nearly 12,000 years—so evil was every imagination of the thoughts of their heart continually before God (Elohim) (see Genesis 6)—you can understand the pent-up anger they are unleashing against the seed of Christ and the revenge they would take against God and society.

And these are the very ones whose misuse of the science of sound, as well as of crystal <11> caused the sinking of Atlantis, the very ones who have reembodied to destroy civilization. They have not come to change their ways, to bend the knee, or to confess the living Christ; instead of taking the opportunity to make good they have determined to continue their proliferation of evil and to bring this civilization to its knees.

Many think that young people with their rock bands are just going through their phase—lots of people have had bands and then they go on to other professions. It’s kind of an accepted thing in this country that having a band or a rock band is just something you do at a certain age and then you move on.

Youth is not looked upon as being evil; on the contrary, parents of these rock stars are proud of their sons—they’re successful, they’re popular, they get on TV. “How can they be evil, they’re such nice young men and women?” (though there are much fewer women in rock). This logic is a lie because these ‘musicians’ are reembodied Atlanteans who destroyed their civilization the last time around; they’ve sworn enmity with God and they’re likely to do it again, if we don’t take a stand.

Tonight we’ll be tackling three aspects of rock music. I know some have said that from a higher viewpoint it’s not important to make distinctions between the types of rock. But I feel it’s vitally important because rock is like a many-headed Hydra or like the dragon in Revelation 12 and we must identify each subgenre. By identifying it, we decapitate it and cauterize the stump so the Hydra cannot grow two heads in its place! <12>

Most importantly, this is war, and, as Sun Tzu said in The Art of War, “Know the enemy and know yourself.”

So, first we have heavy metal. Heavy metal today bears little or no resemblance to its ancestors in the sixties and seventies—groups such as Led Zeppelin, Pink Floyd, Uriah Heep, Black Sabbath, Blue Oyster Cult and others. It’s a completely new form which has taken root since the early eighties and it’s experiencing a great surge in popularity. Heavy metal is concerned with suicide, Satanism, a fixation with morbidity and death, and an obsession with nuclear war. You’ll find all these things in almost every heavy metal piece. They’re an integral part of it. There’s no separating them. And I’ll present my case as we continue.

Then there’s political rock, which I feel is an important part of the conspiracy. Political rock is nothing new. It started in the early sixties. What hasn’t changed about it is that it’s anti-American, it promotes a one-world government, it’s a satire and a mockery of the American way of life, and it’s a transference of the responsibility for war and poverty in the world to America, away from the real source of the problem—the Soviet Union. One thing is certain, you won’t find any political rock that is anti-Soviet.

So, on the political rock we’ll cover several artists and I’ll document each of the statements that I’ve just made.

The third aspect of rock that I’ll be taking up is the techno-rock. Techno-rock is used for want of a better term because almost all rock today is produced electronically in a very sophisticated way. The ‘tools of the trade’ have grown in sophistication in the last ten years—especially in the last five. It’s a whole new ball game, and I’ll be demonstrating some modern studio equipment later tonight.

The fallen ones are using technology which has been given to us by Saint Germain to control sound. Sound is the force of creation; and what you hear, the sound you generate, that is what you’re creating. The whole rock revolution that’s happened has been through the evolution of digital computers and particularly digital audio, which I’ll also explain later.

The digital manipulation of sound gives incredible power to the negative lyrics which these bands are prone to write, which in turn provides a fascination for many youth who love technology and are drawn to the almost irresistible sounds that come from the studio today. They’re so unique. I am sure most of you are somewhat familiar with the types of sounds I’m talking about.

Now, with this techno-rock there have also been albums which are designed more as an “experience” than just as a record. You know, you buy this album and it takes you somewhere. That’s not really new—the Beatles did that too. But it’s more intense now and it’s almost a sexual experience or a narcotic high—that’s the type of high that you might get from some of these albums. And the lyrics are all blatantly sexual with most techno-rock.

HEAVY METAL

There are several types of heavy metal, as described by a 17-year-old metal musician:

There is hard core, which is a general term, and metal, another general term, and then we have all those stupid subtitles—death metal, black metal, speed metal (which is also thrash) and Christian metal which is not popular. There is metal core, which is pretty much what we are, the stuff that crossed over. Metal core is what metal people consider metal and what hard core consider hard core.

Black metal is the Satan stuff, silly Devil music. Death metal is pretty close to black metal but more doomy and less satanistic, the darkness-evil side, but not necessarily the Devil himself. Hard core is punk . . . There’s a fine line between hard core and metal. A lot of bands cross over. A lot of people do too. <13>

As we will see, most producers and consumers of heavy metal music are very young. People can’t usually stand it past their twenties. They have a saying which you’ll see on one of these videoclips, “If it’s too loud, you’re too old.”

Dave Benser, the author of the above quote, began listening to the group KISS in first grade. KISS has been rumored to stand for Knights in the Service of Satan. I don’t know whether there is any truth to that but it seems highly plausible.

I’m going to play a segment from ABC’s 20/20 on heavy metal that aired in May. I think it’s the best way to introduce the subject because their coverage is pretty thorough. Although I don’t agree with most of the things they say, at least you’ll get a chance to see some of these people in action and some of the bands. So we’ll play that now. [ABC 20/20 videoclip “The Children of Heavy Metal” played]

Barbara Walters: When a form of music that our children like becomes linked with ghoulish images and violent theatrics, and even suicide, it demands our attention. Perhaps more to the point, the children need our attention. Hundreds of thousands of teenagers are locked onto so-called heavy metal music. Are they despairing? What are their common bonds? And, as Stone Phillips asks, is there a message that may be too loud for us to hear?

Dad [videoclip, to son watching heavy metal group on TV]: What is this garbage you’re watching? I want to watch the news.

John Marler, Eyewitness News: Good evening. It was rock and roll turned ugly—

Stone Phillips [voice-over]: A rock riot in New Jersey tops the local news.

Marler: There were nearly three dozen arrests and a state trooper was injured.

Phillips [voice-over]: A post-concert fight captures the headlines. A parking lot disturbance at one arena leads police to mobilize an army at the group’s next stop. At issue, the impact of this loud, raucous music, heavy metal music, played here by the supergroup Iron Maiden. Screeching guitars, flamboyant bands, lyrics obsessed with sex, Satanism and even suicide—this is not mainstream rock and roll, it’s the music of today’s teen rebellion. What’s it about?

Mike Zakarian, Age 15: Togetherness, man, we got to stick together and fight, man.

Teen #1: One giant family.

Zakarian: We got to fight—

Student: Fight for what?

Zakarian: Fight for our right, man, to listen to our music and party, man.

Phillips [voice-over]: As metalmania grows, so does the heavy metal debate.

Michael Konsevick, Teacher, Teaneck High: I think it’s time, as Frank Zappa was saying, if your kid comes home with an album with a guy with a chainsaw between his legs, you better find out what that music is talking about.

Phillips [voice-over]: Critics say there’s something seriously wrong with metal music, outrageous by design, that it may have contributed to a number of teenage suicides, like the ones in Bergenfield, New Jersey, March 11th. Four young people died in a suicide pact. A heavy metal cassette box was found at the scene. Later that same week, reporters were at the scene of another suicide case in Illinois.

Chris Bury [Alsip, Illinois]: In this case, music may also be involved. Her family says Nancy Grannan was obsessed by lyrics from the rock band Metallica, lyrics she wrote down.

Jim Davis, Brother: I have lost the will to live, simply nothing more to give, I will just say good-bye.

Phillips [voice-over]: This videotape by a Christian group criticizes a song by Ozzy Osbourne, linked to a 1984 teen suicide in California.

Announcer [videoclip]: Consider now for yourself the words to “Suicide Solution.”

Ozzy Osbourne [words on screen]: Breaking laws, knocking doors but there’s no one at home. Made your bed, rest your head, but you lie there and moan. Where to hide, suicide is the only way out. Don’t you know what it’s really about?

Phillips [voice-over]: The music has prompted pickets, record-burnings, even congressional hearings, where a call for record companies to print lyrics on album covers as a guide for concerned parents sparked a debate over censorship. Tipper Gore, co-founder of the Parents Music Resource Center.

Tipper Gore, Parents Music Resource Center: Parents should realize that we have explicit and graphic sex, extreme violence, suicide in lyrics that is going to children that are sometimes not even teenagers yet, and young teenagers.

Bruce Dickinson, Lead Singer, Iron Maiden: I mean, that’s what annoys the hell out of me,
that people are saying that we’re a negative influence. I just wish people would get a sense of proportion about what’s right and wrong, and who are the real people that are poisoning people’s minds, and why are they doing it. We say things to people that mean something, I mean, you know, in our own little way, that kids can relate to.

Phillips [voice-over]: What are these heavy metal rockers saying to kids? And why are millions of teenage Americans listening? To find out, we went backstage at this heavy metal concert to meet Iron Maiden, and we went back to school to meet the kids who go to heavy metal concerts, who belong to the heavy metal crowd. Kids like these, with hormones popping, macho energy surging, kids who will be our guides into a world most adults are strangers to.

[on-camera] This is a high school in Teaneck, New Jersey, a school with a reputation for excellence. But like just about every other high school in America, Teaneck High has its own group of so-called tough kids, hoods or burn-outs—some into drinking or drugs, others who aren’t into much of anything at all, except heavy metal music. [voice-over] It’s against the rules to play music in the halls at Teaneck High, so it’s hard to tell here just who belongs to the heavy metal crowd and who doesn’t. But after school, Teaneck’s heavy metal contingent is hard to miss. Meet Allen, Mike, Naseem and Melissa, four devoted heavy metal fans.

[interview] This is it, this is the hot stuff. Allen, turn it off for a second, so we can talk. Who is this?

Zakarian: S.O.D.

Allen Chaloub, Age 15: S.O.D.

Phillips [voice-over]: S.O.D.?

Chaloub: Storm Troopers of Death.

Phillips: Storm Troopers of Death, now, what does that mean—Storm Troopers of Death?

Chaloub: It’s just a name.

Zakarian: It calms me down. Like, you know, if anything’s on my mind, I just go and sit in my room and play some music, and just sit down and think.

Phillips: And you can sort of drown out the world that way.

Zakarian: Yeah, you know, it calms me down.

Phillips [voice-over]: For the most part, these kids are not star athletes or straight-A students. Most don’t belong to any high school clubs or hang out with the popular crowd. Often, they feel like outcasts, like they don’t fit in, especially in the classroom.

Teacher [videoclip]: What do you want to do with your life?

Student [singing]: I wanta rock.

Group of Students [singing]: I wanta rock.

Jason Kalfin, Age 14: It’s like, you know, some people don’t want to go to college. They want to do something else. I mean, once you get out of high school, you figure that you’ve been in school long enough, you don’t want to, you know, spend any more time.

Phillips [voice-over]: They spend their afternoons at the record store, flipping through albums, talking metal music with their friends. The music is what brings them together. It’s their way of belonging, their rooms a retreat from school and from cliques they can’t relate to.

Michael Chaloub, Age 17: They got preps in there, they got the nerds, and they got, you know, guys like us. The preps, they’re the ones who always wear like they’re in friggin’ Hawaii or something, they wear those ten thousand, like, multi-color shirts. And, you know, like those idiots over there, they go and play frisbee in the middle of a field.

Phillips [voice-over]: Sheigh Crabtree might be considered a prep. She used to go to Teaneck High and always believed the put-downs from the heavy metal crowd were just a cover.

Sheigh Crabtree, Former Teaneck Student: Instead of people just ignoring them, saying they’re heavy metal kids, they need some support, they need some people to inspire them, some people to look up to. I think being a teenager is a really lonely time. You don’t know who to trust. Maybe when you grow up, it’s the same thing, but right now, I mean, I’ve never felt lonelier. And I think a lot of teenagers feel that way.

Phillips [voice-over]: Lonely, she says, and worried, like a lot of teenagers, about things like nuclear annihilation. This song, by the group Megadeth, is about nuclear war. [rock music played]

Kalfin: Like, you talk about the future and everything, and like, there might not ever be a future, ‘cause they’re still makin’ all these weapons and everything, and I think about peace a lot.

Phillips [voice-over]: But make no mistake. This is not the summer of love. Folk music is not their thing.

Mrs. Gore: There is a group called Motley Crue that’s very popular with kids. They have an album that has sold two million copies with lyrics like this, “Not a woman but a whore. I can taste the hate. Well, now, I’m killing you, watch your face turning blue.”

Phillips [voice-over]: We asked the kids about that. They say parents pay more attention to the lyrics than they do.

[interview] Those kind of songs—you don’t think it says the wrong kind of thing?

Melissa Gill, Age 16: Yeah, it does. You shouldn’t say, like, you know, bad things about what women do, you know. It’s just like putting them down.

Naseem Buddha, Age 16: It’s like, not all songs talk about that, though. So you just avoid the music that you don’t like, that’s all.

Phillips [voice-over]: And it’s the same with songs about Satanism and suicide. The kids in Teaneck said they were shocked by the suicides in Bergenfield, the town next door. But they still think it’s wrong to blame the music.

Michael Chaloub: Why didn’t we kill ourselves yet?—because we listen to the same thing. And if the music caused them to kill themselves, well, why didn’t we?

Allen Chaloub: That song, “Kill Yourself,” you know, I mean, it’s just a song. You’re not going to go out and do it, I mean, unless you got real bad problems and everything, you know.

Kalfin: It’s, like, not the music that’s going to kill you, it’s yourself.

Phillips [voice-over]: Music journalist Charles Young has written about the heavy metal culture and believes it may be healthy in a way.

Charles M. Young, Music Journalist: Heavy metal speaks to the anger and despair of teenagers today the same way that the blues used to speak to the despair and anger of black people in the South. But without heavy metal there would probably be a lot more suicides, because metal and certain other forms of rock give teenagers something to believe in that they get no place else.

Phillips [voice-over]: Basically, Teaneck’s metal fans feel adults just overreact to the music, don’t understand it or give it a chance. Like the teenager in this music video, they feel themselves constantly colliding with the adult world.

Harvey Kalfin, Jason’s Father: If it’s too loud, you’re too old.

Phillips [voice-over]: Take Jay’s father, for example. He never shared his son’s devotion to the music, never quite understood as Jay transformed himself into a heavy metal aficionado, at age five.

Harvey Kalfin: I kept telling myself that I had to appreciate his music, and I would listen to it and it lasted about 30 seconds, and then I’d yell, “Turn it down!” But seriously, I have no objection to what music he likes to listen to, and if—

Phillips: Would you?

Jason Kalfin: What?

Interviewer: Turn it down?

Jason Kalfin: Would I turn it down? No. I’d turn it up, louder.

Sylvia Chaloub, Allen’s mother: I don’t know what heavy metal is really like. Could it be worse than—

Allen Chaloub: Can I give an example?

Mrs. Chaloub: Like who?

Chaloub: Can I give an example?

Phillips [voice-over]: Allen’s mom tolerates the heavy metal culture, or tries to.

Mrs. Chaloub: If it’s like the music that you listen to—

Phillips [voice-over]: And the music is mild compared to this. [music played] This is called moshing, a dance popular among the metal crowd. At times, it looks more like a contact sport. And what about this, stage-diving, a common occurrence at heavy metal concerts all over the country? Jay broke his wrist stage-diving a few months ago, but his fellow fans insist they look out for one another.

Fan: You don’t want to get hurt. Everybody’s got a little kind of brotherhood. No one wants to get hurt. Everybody keeps their arms down. It looks—I have to admit, when I first saw it, you know, I got scared, but it’s not—I’m all sweaty, but it’s fun.

Phillips [voice-over]: Still, some counseling groups say heavy metal is out of control and advocate a tough stance, with rules to de-metal kids, impose a dress code, tear down posters, and turn off the stereos.

Zakarian: If you come home late, they start bitchin’ at you and everything, you know, clean your room or take the dog out or somethin’ like that, you know. You can’t go up to them and, you know, tell them to go to hell, so you keep all your anger in and stuff.

Tony Kingslow, Age 15: My parents are threat—I said, “Dad, can I get an earring?” He’s like, “I’ll kill you, I’ll rip out your ears.” It’s like, he said, “I’ll kick you out of the house and get your name changed to spa­ghetti”—and then I say, “What’s so wrong about having an earring? There’s nothing wrong with that. It doesn’t mean anything, anything bad about it.” [crosstalk]

He thinks, “He’s a girl, he’s a girl. Only girls wear that.” Who says?

Phillips [voice-over]: Tipper Gore has written a book for parents in the eighties. We asked her where she thinks parents should draw the line.

Mrs. Gore: I advocate a system where people can make up their own minds according to their own values and their own assessment of where their child is on a developmental spectrum.

Phillips [voice-over]: And if your fourteen-year-old daughter wants to listen to this, will you let her?

Mrs. Gore: To heavy metal music? I’m not sure. It would depend on what group.

Phillips [voice-over]: [group cheering] The Iron Maiden group, one of the best-known among more than 1500 heavy metal bands, is a worldwide phenomenon. They’ve even taken their act behind the Iron Curtain, where their fans look and act the same. Rock promoter John Scher.

John Scher, Rock Promoter: What happens at concerts now is vastly different than the scene that surrounded concerts in the sixties and seventies. It’s become an almost tribal [emphasis added] kind of a gathering place. It has a lot more to do with socialization than it does just the music.

Phillips [voice-over]: When Maiden played this year at the Meadowlands in New Jersey, we went with our group from Teaneck.

Young: When you’re a part of a crowd, you’re incredibly powerful. And there’s no drug, there’s nothing that can approach that feeling of exhilaration.

Phillips [voice-over]: When the concert was over, we took them backstage. They got autographs from some of the band members. And we got to talk to one of their idols, Maiden’s Bruce Dickinson. We asked him what he says when critics accuse heavy metal of inciting outrageous, even sick behavior.

Dickinson: You mean like selling arms to Iran, or you mean like, you know, all these guys doing insider dealing, or you mean like all these companies dumping toxic wastes everywhere, you know? But because they wear suits and ties, it’s okay. They’re not sick. Where else can these kids go, where they—you know, they come somewhere, and they all feel a sense of, you know,
this is our thing, you know.

Phillips [voice over]: Dickinson acknowledges though that heavy metal kids may be telling us something, about how they feel pushed out and put down, about their needs, and about how they’re coping with the pressures teenagers face today, from family breakups to drugs.

Dickinson: And maybe if you listen, you might understand a little of what he’s trying to go through, and then you might understand why he likes things, why he doesn’t like things, and ultimately, you find out that he’s a good kid after all.

Walters: You know, Stone, this is hostile music, and these are kids who seem to feel that the world out there is hostile to them. So much of it is a matter of self-esteem. But the music itself isn’t what does them harm.

Phillips: No, even the critics that we talk to, among them, none says that the music alone is going to cause a child to commit suicide, for instance. I think the point is, talking to these teenagers who are into heavy metal music, that they’re not necessarily looking for a heavy discussion with parents or teachers about the meaning of their music. But the point is, tune in and let it be known that whether you like the music or not, it matters, because the kids matter.

Walters: Oh dear. God, it’s a tough time, and it’s always a tough period for kids.

If you ask me, that’s nothing but a whitewash. What this segment is designed to do is to put a human face on heavy metal in order to demystify it and make it palatable. By acting like the teenagers have chosen the music, the responsibility for its violence is transferred to the children themselves. It is never acknowledged that possibly the heavy-metal musicians have created their own market by taking unfair advantage of the vulnerability and natural rebellion of teenagers.

Nor is the question even raised that the group members themselves might be tools of evil forces. It is denied that the music can have a negative influence and this Charles M. Young is sorely misguided if he thinks that heavy metal is something teens can or should “believe in.”

The youth have been victimized and they don’t know it. The battle is not about censorship or “saving children from themselves.” It is about saving them from the likes of Bruce Dickinson of Iron Maiden, who lines his pockets with filthy lucre derived from the death of souls while pointing his finger at other elements of society.

Just because kids can relate to heavy metal and enjoy it doesn’t make it a good thing. We do not allow heroin addicts to remain addicted just because it is their free will. Neither do we blame them for their continued craving for the drug. They have a “monkey on their back,” and we should take a stand for them and against the monkey. The addict will hate us in the moment but thank us profusely upon regaining his senses.

Rock musicians will accept no responsibility for feeding America’s metal habit. Instead, they are always putting down others. As you saw with Bruce Dickinson, he’s doing nothing but transferring our attention, saying, “Over here. Don’t look at me, look at them. Look at the government, look at the corporations.”

This transference is the key to understanding the rock music plot because a lot of the political groups do the same thing when it comes to making the people blame America and blame our way of life for all the world’s ills. It’s a transference from the real source of the problem. And they’re great at it.

These rock musicians are spokesmen for the seed of the Wicked One and they use their music and their beat to transfer the guilt for all the crimes of the fallen angels to the Lightbearers. This weight of guilt adds to the burden of the youth who are already bowed down with drugs and feel alienated from society. I won’t deny that being a teenager is tough. But this just compounds the problem.

Heavy metal attracts the loners, as we saw in the clip. These are already the ones most likely to commit suicide. We heard mention of the girl who had the lyrics to a song with her when she killed herself. The group involved was called Metallica.

When I was going out to do the research for this lecture I went to a record store in Evanston near Northwestern. And when I first walked in, I said, “Hi. I’m doing research into suicide and Satanism.” And the manager got real upset and he said, “There’s nothing like that here. What are you talking about?” He didn’t like me at all.

So I got into a conversation with a girl who worked there who was nineteen. And it turned out that this group was her favorite group. We got to talking about the suicide of Nancy Grannan and, of course, she didn’t believe that that song had caused her to commit suicide. As a matter of fact she said, “It couldn’t have. It’s my favorite song.”

So I asked her what she thought of heavy metal in general—and didn’t she think that it was a possibility that music could at least have an influence on someone—maybe not a negative influence, but at least that it had the power to influence people. Well, she didn’t really know. But then it came out later in the conversation that, well, she wouldn’t really want her ten-year-old sister to listen to it. But it was OK for her.

We kept discussing it. She said she didn’t think the words really meant anything, but that they were just an expression of emotion—that people were acting and the lyrics didn’t really mean anything. And then she switched. She couldn’t really defend that. So she said that the top 40 was as bad as heavy metal and that lots of kids listen to that and parents didn’t care.

She cited the example of Madonna, claiming that Madonna had posed in the nude before she became a singer. I said, “Well, I don’t think anybody should be listening to Madonna either.” So she thought about it. And I think that she listened to what I had to say but she definitely wasn’t converted by any means.

At one point she said she knew some members of a rock and roll band and she was trying to explain to me how they were just posing to look nasty but that they were really nice people. At this point the store owner came over and remarked that he expected that “a Northwestern student would be smarter.”

So I’m going to play you the song which I believe caused Nancy Grannan to commit suicide. But first, I’d like to introduce you to some of the other music that this group has put out. This is a song about nuclear war—a familiar topic. I’m going to read the lyrics:

Do unto others as they have done to you
But what the hell is this world coming to?

Blow the universe into nothingness
Nuclear warfare shall lay us to rest


Fight fire with fire
Ending is near
Fight fire with fire
Bursting with fear


We all shall die

Time is like a fuse, short and burning fast
Armageddon is here, like said in the past

Soon to fill our lungs the hot winds of death
The gods are laughing, so take your last breath

So we’ll play that now. [Excerpt of “Fight Fire with Fire” by Metallica played] So it goes on. That’s about a third of it.

Now, this Metallica would fall into the category of “death metal.” They’re not overtly satanistic. Take a good look at this album cover. What do you think the object in the center is? It’s an electric chair. So you have this group who is actively singing about death and they talk about suicide in their song, yet they have a song which is against the death penalty. You figure that out.

We have them criticizing the death penalty, which is the only way that a civilized society can deter murder, and yet they advocate suicide. In other words, they’re saying to God: “You can’t tell me by your law (the law of karma) when it’s time for me to go, but I can take my own life (which is really God’s life) anytime I choose. I’m better than you, God, and no one can tell me otherwise.”

These are the lyrics to their song against the death penalty. It’s called “Ride the Lightning.”

Guilty as charged
But damn it, it ain’t right
There is someone else controlling me

Death in the air
Strapped in the electric chair
This can’t be happening to me

Who made you God to say
“I’ll take your life from you!!”


Flash before my eyes
Now it’s time to die
Burning in my brain
I can feel the flame


Wait for the sign
To flick the switch of death
It’s the beginning of the end

Sweat, chilling cold
As I watch death unfold
Consciousness is my only friend

My fingers grip with fear
What am I doing here?

Someone help me
Oh please God help me
They are trying to take it all away
I don’t want to die

Time moving slow
The minutes seem like hours
The final curtain call I see
How true is this?
Just get it over with
If this is true, just let it be

Wakened by horrid scream
Freed from this frightening dream.

We’ll play an excerpt from that now. [Excerpt of “Ride the Lightning” by Metallica played] This is supposed to evoke sympathy for this individual who is being killed, but I don’t think they have too much sympathy for the girl who killed herself.

We’re told that Nancy Grannan, nineteen, of Alsip, Illinois, had listened to “Fade to Black” and that she carried the lyrics with her—copied in her own hand—and had them on the dashboard of the car while she allowed herself to be poisoned by carbon monoxide. Days before the suicide she read them to her sister-in-law, remarking, “This sounds like my life.”

Grannan was trapped. She did have problems. She was going through a divorce and she had some other personal problems. But it wasn’t the end of her life. She could have been helped by a good counsellor or even by the violet flame. I’m sure there is someone she could have talked to. But instead, she turned to heavy metal.

It’s interesting to note when you hear this song that it starts out kind of nice, you know, with the acoustic guitar—sounds kind of sweet. And this is what they do. The fallen ones always allure you with something that looks very good and very nice. And then when you’ve been caught, they show you what it’s really like.

I think that this song is a prime example of that. I’m going to play the whole song—it’s about six minutes long—because I want everyone to understand what this girl was up against and what all teenagers are up against when they feel the despair that my mother talked about in her commencement address on Sunday. It’s just that—they have nowhere else to turn.

They feel alienated from their parents and they just turn to this music—almost for mother love. It becomes a surrogate mother, a pacifier and a security blanket—a shield from the real world, yet the repository of everything they fear most. And then the rhythm of rock—gentle and violent —neutralizes their fears of those things which they really ought to fear and then come to grips with in a mature way: sex, death, dying, suicide, and nuclear war. These musicians are the heroes of our children—like in Dungeons and Dragons, they lead them through the labyrinth of the underworld—but they don’t bring them back. So here are the “Fade to Black” lyrics:

Life it seems, will fade away
Drifting further every day
Getting lost within myself
Nothing matters no one else
I have lost the will to live
Simply nothing more to give
There is nothing more for me
Need the end to set me free

Things not what they used to be
Missing one inside of me
Deathly lost, this can’t be real
Cannot stand this hell I feel
Emptiness is filling me
To the point of agony
Growing darkness taking dawn
I was me, but now he’s gone

No one but me can save myself, but it’s too late
Now I can’t think, think why I should even try

Yesterday seems as though it never existed
Death Greets me warm, now I will just say goodbye

This stream of consciousness is nothing but a dictation from the suicide entity, Annihla. This is channeling right out of Hell. With their syncopated beat and the electronic sound that becomes a “psychotronic” manipulation, they are the open door to the mouthings of demons out of the pit.

Notice the passage “I was me, but now he’s gone.” How often do you hear people going from the first to the third person in the same sentence? By this statement, the vocalist (and anyone who sings along) merges with the suicide entity and loses his own identity. “I was me, but now he’s gone”—who’s he? The disassociated self. The person is saying, “I used to be me, but the me that I was—now he’s gone.” But it’s the suicide entity that has now displaced the I that used to be the self; and the entity says now he’s gone and only I am here occupying this body.

I believe it’s important for us to place ourselves in the position to hear what these teenagers are going through. So we’ll play it now. [“Fade to Black” by Metallica played] If we didn’t have the Ascended Masters and their teachings, we’d feel like giving up after hearing that song. And that’s just how she felt and that’s just what she did—Nancy Grannan, bless her soul.

What really struck me about this recording is that at the end of it you hear a kind of scream going off into the distance. It sounds to me like the soul screaming after it’s left the body and realized it’s been tricked into committing suicide and what a trap it is.

Now, as bad as it is, it’s not the actual suicide that is the core problem of this heavy metal and of rock music. Suicide is only the end result of a chain of abominations. It begins with the rape of the chakras by the rhythm and the sound. It becomes an addiction, and the false hierarchy of Satan is involved in this at all levels. And by the time suicide becomes the solution because it’s the only way to get out of the grips of these toilers, the soul has been devoured many times over.

There is a parallel here to the account of Jesus casting out devils in the country of the Gadarenes. The devils spoke to Jesus through the ones possessed and said, “Well, if you’re going to cast us out, at least let us go into the herd of pigs.” The Master consented and no sooner did they go into the pigs than the whole herd, as it is written in Matthew 8, “ran violently down a steep place into the sea and perished in the waters.”

The swine—a very intelligent animal—committed suicide. It was their only way out. They preferred death to demon possession. And they did not have the power to deliver themselves from the forces of Hell. Neither did the Gadarene demoniacs. And neither did Nancy Grannan. And neither do our teenagers today.

I stand before Almighty God and in the name Jesus Christ I charge you, Metallica: James Hetfield, Kirk Hammett, Cliff Burton, and Lars Ulrich with the murder of this soul, Nancy Grannan, and for putting a stumbling block in the path of this sister who was a Holy Christ Child and had the opportunity, as we all do, to make her ascension in this life. Her blood be upon you and all of your ill-gotten gains!

Let us take our stand now and give The Judgment Call “They Shall Not Pass!” by Jesus Christ. Together:

In the Name of the I AM THAT I AM,
I invoke the Electronic Presence of Jesus Christ:


They shall not pass!
They shall not pass!
They shall not pass!
By the authority of the cosmic cross of white fire
it shall be:
That all that is directed against the Christ
within me, within the holy innocents,
within our beloved Messengers,
within every son and daughter of God...
Is now turned back
by the authority of Alpha and Omega,
by the authority of my Lord and Saviour Jesus Christ,
by the authority of Saint Germain!

I AM THAT I AM within the center of this temple
and I declare in the fullness of
the entire Spirit of the Great White Brotherhood:
That those who, then, practice the black arts
against the children of the Light...
Are now bound by the hosts of the Lord,
Do now receive the judgment of the Lord Christ
within me, within Jesus,
and within every Ascended Master,
Do now receive, then, the full return—
multiplied by the energy of the Cosmic Christ—
of their nefarious deeds which they have practiced
since the very incarnation of the Word!

Lo, I AM a Son of God!
Lo, I AM a Flame of God!
Lo, I stand upon the Rock of the living Word
And I declare with Jesus, the living Son of God:
They shall not pass!
They shall not pass!
They shall not pass!
Elohim. Elohim. Elohim. [chant]

Let us call to Archangel Michael to protect the souls of all teens who have committed suicide and to bind all demons of Death and Hell who have lured them to that fate. Together:

*Lord Michael before, Lord Michael behind,
Lord Michael to the right, Lord Michael to the left,
Lord Michael above, Lord Michael below,
Lord Michael, Lord Michael wherever I go!

I AM his Love protecting here!
I AM his Love protecting here!
I AM his Love protecting here!* (9x)

*I AM Presence, Thou art Master,
I AM Presence, clear the way!
Let thy Light and all thy Power
Take possession here this hour!
Charge with Victory’s mastery,
Blaze blue lightning, blaze thy substance!
Into this thy form descend,
That Perfection and its Glory
Shall blaze forth and earth transcend!* (9x)

Thank you and thank God for that release of Light! (Please be seated.) There is a protective membrane around the etheric body. Mother has described it as being “white and bluish, having light veins through- out—veins of light.” Gradually, from repetitive listening to rock, the membrane is weakened from being bombarded by violent sound. So, it wears thin until finally it bursts, and then you start having more tears.

The purpose of this protective sheath is to prevent the astral plane (Death and Hell) from penetrating the four lower bodies and violating the soul. The real purpose of rock music, then,
from the satanic point of view is to tear this protective sheath, thereby making the soul vulnerable to anything else the sinister force may desire to do with her until they’ve bled her of all her light: her own self-destruction becomes their method of discarding their victim.

Now I’d like to show you the pictures of a few young people that are into heavy metal and tell you their story. These are taken from a June 4, 1987, article in the Washington Post. This is Stacy Allen. She’s twenty and she says that she doesn’t even do drugs because a heavy metal concert is a better high:

“It’s better than drugs and alcohol and I don’t have a hangover in the morning....Some bands are so good they’ll just tear you apart. I’m not saying every band is good enough to do this. But my favorites, they can obliterate me. I feel like there’s nothing left anywhere after I’ve been there. It’s like, am I there or am I in Ohio? It’s awesome. Anything that can blow you from D.C. to Ohio is pretty powerful.”

This is an increment of self-destruction every time it happens to her. And the rush of the life-force going out of her which will never return is “sweet death.” And she can’t help herself, she can’t stop herself anymore than a heroin addict can stop because she’s addicted to that sensation. It’s the bleeding of the chakras of their light. It is almost as if the chakras, which are normally convex and full of light, were to become deflated like a balloon. They literally get depressed. This loss of light is the spiritual cause of depression, which, as we know, has become recognized as a national disease—as highlighted in a recent cover story of Newsweek. <14>

When the life-force has been spent, whether through rock or perverted sex or drugs, two feelings emerge: depression and then the desire for more stimuli to counteract the depression. Who benefits from this vicious cycle? The depression entity, whose name as revealed to Mother is “Depressa,” a female vampire entity. She and Annihla, the suicide entity, are a team—they work together.

The demons and discarnates out of Death and Hell all benefit from rock and roll. Because foul spirits can survive only by constantly raping the Light from the chakras of the Lightbearers. That’s their only source. Without it they would be no more.

So they get one, a few or ten million listening to rock music and they have easy access to all the light they want. They live off of it, they get drunk on it—and drunk with power—and they use that power of the Children of Light to carry out the agenda of Hell: controlled social and political change by the architects of world destruction who, as the archdeceivers of mankind, use the rock stars as pawns in the game. Thus some rock musicians are duped (themselves victims of the sinister force) but others are conscious willing tools of the powers of Hell.

And that explains the rock/Satanism connection. This connection consists of groups like Slayer and Venom who are disciples of Satanism. They don’t deny it. They readily admit it and it’s in their lyrics.

This is the Satanic Bible. On the cover is the inverted pentagram with the Goat of Mendes superimposed. Now, the inverted pentagram is a familiar symbol if you’re into heavy metal. Some kids who are into it may not know that it’s on the cover of the Satanic Bible, but there it is in its entirety. And here we have the man responsible for it all—or the pawn of the man responsible for it all. This is Anton LaVey, the head of the Satanist church. He has claimed credit for the rise of “black metal” or “Satanist metal.”

As quoted in the Washington Post, February 23, 1986, he says, “The Satanist rock lyrics, the Satanic movies, even the Satanic murders, . . . all grew from the Church of Satan. Let’s give me a little credit for having moved society—up or down—but for at least having moved it.” <15>

It is interesting that LaVey claims not to like rock music. This is a bit like Pravda claiming that the Soviet Union doesn’t like taking political prisoners. When you consider the background of LaVey as the reincarnation of V. I. Lenin, it starts to sound like old, familiar rhetoric.

LaVey himself is involved in music. You may not know this, but according to his own story he sits there ‘most every night and plays his organ or banks of synthesizers—very late, in the early morning hours from 2:00 to 4:00 a.m. That’s when Stalin held court and received his diplomatic envoys from the West. He would only see them at those hours.

And it’s not just Stalin, it’s the modern Soviet Union also. This is when the ELF <16> waves that the Soviet Union constantly beams at the United States are most effective. So you start to wonder, when all these things are happening, and you put two and two together. Well, the source is the same. We also know that beloved Kuthumi plays his organ at Shigatse (his retreat in Tibet) at night for souls who have made the transition. And he may be playing it to counteract Anton LaVey.

This is a slide of Anton LaVey again. I wanted you to take note of what he’s doing with his hands. That’s the Satanist mudra (with the thumb holding two center fingers against the palm, the index and little finger are raised). It represents the goat’s head of the Goat of Mendes, also called the symbol of Baphomet, which is represented by the symbol behind his head. This satanic hand mudra is imitated by many of these heavy metal groups and listeners. In the clip we saw from 20/20 you could see a few of them doing it. But I’m going to show you some other clips as well and you will see that this is standard practice at a heavy metal concert.

continued