Modern youth, as one of the most weakly protected and vulnerable categories of the population, due to the lack of relevant knowledge, experience and economic dependence, often acts as an object for various kinds of manipulations, as well as approbation of political, socio-psychological technologies and experiments on it.
An example of this is the "Beatles" - as the result of a social experiment to change consciousness, which has no analogues in history, the popularity of which was artificially created by British and American sociologists.
Fans of the "Liverpool Four" will surely laugh at those who said such words or think of them as crazy. Especially if they once participated in the youth movement of the 60s under the motto: "sex, drugs and rock-n-roll" (which means - sex, drugs, rock and roll - our note).
And those in the West are the majority. And although the USSR largely stayed away from the shocks that the inhabitants of Western countries were subjected to, the trends of the sixties have come down to us.
What is the Beatles subculture, who created it and for what purpose? And why was the youth chosen as an object of manipulation of public consciousness?
Youth as an object of manipulation
Vivid examples of the practical implementation of various kinds of social experiences and engineering are "youth riots", "youth", "sexual" and "color" revolutions, the emergence and life of various kinds of youth subcultures and countercultures.
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Addressing this issue, it is impossible to ignore the theme of youth riots and revolutions that took place in the West in the 60s of the XX century.
After all, these events took place in Western European countries during the Cold War era, ie. full-scale confrontation between the capitalist and socialist systems, as well as the gradual establishment in the West of the oligarchic model of capitalism.
The transformation of Western societies that took place in these years from an industrial type of society to a post-industrial society was associated with the triumph and approval of the standards of the consumer society.
Naturally, Western European youth, at this time as the most active part of society, for the most part was doomed to a hopeless, miserable existence and could become a kind of threat to those in power, turning to communist ideas as a kind of alternative to the capitalist oligarchy.
Therefore, the elites of these countries needed to take control of the youth, directing their energy in a completely different direction, so that they could not really become a participant in political processes not controlled by the oligarchs.
To do this, it was necessary to discourage the overwhelming majority of young people from the desire to participate in the political life of society, leading them aside - into some illusory world controlled and profitable by these oligarchs.
How the collective unconscious of youth is controlled
A whole network of Western European scientific institutes and centers was engaged in solving this problem (among which the most famous and significant, as is clear from the book of the former high-ranking officer of the British special services D. Coleman (D. Coleman, Committee of 300. Moscow: Vityaz, 2011.) were the Tavistock Institute of Human relations and Stanford Research Center), actively funded by the oligarchy and the governments of these countries.
The purpose of the activities of such structures was, of course, not so much theoretical and scientific research of various aspects of human behavior, small and large social groups, but the development of social and political technologies for managing society and manipulating the individual and collective psyche, and hence the psychodynamics of society.
“Tavistock Institute, funded by Rockefeller (England, Tabernacle Street, London EC 2A 4DD), operates through a number of US foundations with annual turnover of $ 6 billion. Explores the logic behind why people of different cultures, interests, beliefs, the level of awareness hold similar opinions. Briefly, this topic is defined as "tolerance engineering", or, using the now so fashionable term "tolerance", "tolerance engineering".
Engaged in social engineering and closed experiments, within the walls of such institutions, various projects were gradually cultivated to create youth subcultures, countercultures; improving manipulative technologies, methods of managing an individual, group, society; the implementation of operations of special services to change regimes (for example, the regime of Charles de Gaulle in France) or the organization of revolutions, riots and other cataclysms, birth control, the spiritual health of the people.
The calculation was also made for making a profit from such projects. As the saying goes, "nothing personal - just business!"
The situation changed dramatically by the mid-1950s. The socio-economic and concrete-historical prerequisites for the emergence of youth subcultures and countercultures, as well as the allocation of young people themselves into a special socio-cultural and political community with their own specific interests and needs, include, first of all:
- the growth of incomes of the middle class and especially its youth stratum in the 1950s;
- the emergence of new means of recording and disseminating musical culture (radios, tape recorders, etc.), show business industry, youth culture and fashion;
- as well as the growing influence of the institution of media and communications as an effective tool for the formation and manipulation of public opinion.
The extreme type of youth subculture is the youth counterculture.
The types of youth countercultures are beatniks, hippies, yippies, “new leftists”, fighters for the rights of sexual and other minorities, representatives of destructive cults and sects, and other youth groups who do not recognize, rebel and protest against the foundations of the life of a society.
The breeding ground for the formation of this and other countercultures was music in the style of rock and roll, as well as the industry of rock culture, which is actively developing under the influence of the institution of media and communications.
Following the Beatniks in the 60s, other countercultures arose and took shape: hippies, fighters for the equality of various minorities, groups of the "new left".
The hippie counterculture was actively, in a hidden form, advertised and promoted by the media.
She, like the rest of the countercultures, quickly commercialized and became inseparable from the media-promoted industry of rock culture, the "sexual revolution" and the world of drugs, as
Numerous colonies of hippies, emerging in cities and towns of the USA and Western European societies, have become centers and main markets for the sale and distribution of narcotic substances (mariuhanna, hashish and LSD). Styles, fashion, elements of counterculture (jeans, often frayed and full of holes, which have become everyday clothes for representatives of various strata of society and high society, mini-skirts, occult literature and literature of the "new left", as well as other elements) were integrated into the system of consumption of these societies, bringing fabulous profits to their producers.
The media purposefully carried out the promotion of various rock groups (The Beatles, The Rolling Stones, etc.), the propaganda of the values (in fact, anti-values) of countercultures, sexual permissiveness and emancipation. All these actions of the media, show business and the consumer industry deliberately led and plunged the institutions of socialization and the very process of socialization of youth into a permanent state of crisis, to the detriment of the aspirations and interests of the young people themselves and society as a whole.
Thus, within the walls of these institutions, with the participation of special services, a kind of psychogenic "drug" was created, the action of which is based on new principles and the phenomenon of which was of a global nature, while for the majority of those living today it was an integral part of the familiar world.
The essence of "created music"
It should be noted that this "music" is not contemporary. Its rhythmic basis - "beat" - is taken from the temple practice of the Middle East and pagan Hellas - from the cults of Baal Hammon and Dionysus, and its harmonic structure - from the mysticism of the Rosicrucians.
And it was precisely the destructive atonal system that Adorno and a group of scientists who worked with him put into the basis of "modern guitar music." As strange as it may seem at first glance, the “rock culture”, “the culture of youth protest” was born not by shaggy hippans from the dirty outskirts of Liverpool, but prim bourgeois professors - from the Tavistock Institute of Human Relations lurking among the elms of the sleepy Sussex backwaters.
1. Great importance in the "new music" is attached to a complex drum rhythm - "beat", which has a strong effect on the centers of the brain responsible for concentration. The effect of the “bit” is comparable to that of “light” drugs - slight dizziness, suppression of consciousness, its “dissolution” in emotions and sensations.
2. The second striking factor is "bass" - instruments and electronic synthesizers that produce low and ultra-low (up to 60 Hz) acoustic vibrations. "Bass" affects the cerebrospinal fluid and adrenaline-insulin balance, provoking inadequate aggressiveness and increased sensuality. The pogroms by rock fans are a direct consequence of the influence of the "bass". It is also associated with provoking suicide. Statistics show:
Is it an accident that this coincides in time with the heyday of "modern music" ?!
3. The third most powerful intoxicating factor is light. That is why any self-respecting "group" drags tens of tons of lighting equipment along with it on tour. Colored light, laser images and "shots" - everything is intended to enhance the effect of sound, and the stroboscope, for example, generally got into the "music" straight from the office of the doctor-hypnologist.
All of the above allows us to assert: "new music" is a powerful psychogenic "drug", the action of which is based on acoustic and auditory effects on the human brain and endocrine glands; the result of this effect is the suppression of consciousness, similar to that which is achieved by "light" drugs.
At the same time, the similarity of the states caused by rock and "light" drugs (cannabits, etc.), the propaganda of drug addiction permanently carried out by rock musicians (lyrics, images of clips, personal example) not to a small extent helps to remove the psychological barrier from the audience and in front of " classic "drugs.
Why do they need all this?
There are at least three answers to this.
Firstly, the rock industry is one of the most profitable "businesses". By trade, practically in the literal sense of "air" (more precisely, by its fluctuations), astronomical states are created at the moment. The royalties of rock and pop "stars" are not a secret for anyone: they are hundreds of thousands and millions of dollars. How much do those who “light” these “stars” keep for themselves ?!
Secondly, "new music", as already mentioned, is the most powerful promoter of classical drugs. And this, again, is millions and billions of dollars. (Moreover, if someone thinks that these millions are scattered among a huge number of drug dealers, he is mistaken. The bulk of the drug money is tenaciously held by a group of tycoons).
Thirdly, one should not forget the social function of "musical" drug addiction. It is not by chance that the phenomenon of "new music" coincided with the "stormy 60s", when the bourgeois democracies were bursting at the seams. In the total intoxication of the youth, the "great initiates" serving the world plutocracy saw the only opportunity to sit on the necks of the enslaved peoples.
The transfer of youth rebellion from the socio-political sphere to the sphere of shaggy hairstyles, dirty pants and smoking weed is their important victory over humanity.
Indeed, after the middle of the 20th century, society entered a new logic of social behavior.
These changes in the logic of social behavior are more active at the bottom of society, since the top is more dependent on the historically established structure of the social order, which inevitably goes into the past. And this dependence on the old logic of social behavior gives rise to a natural desire of these leaders to restrain the process of transformation of society.
And since the management process in the old logic of social behavior is based on exploiting the difference between the allowance in which the upper and lower classes are located, it can be understood that in order to stay at the top, the “upper classes” will strive to strengthen allowance in relation to the lower classes of society.
To prevent the upper classes from exploiting the lower classes, Comrade Jesus commanded to be more righteous:
But, not everyone in the lower ranks enlightened this truth. And at the top they took advantage of this in order to slow down the process of transformation of society as much as possible, let's say even so - to “prevent” this process, by creating a culture of corruption and debauchery that swept over the Western world, less protected from its influence.
And, following the Beatles, other "Made in England" rock bands moved around the world, for which, according to Coleman, the staff and followers of Adorno created new directions of rock and electro music, built on "beat" and "bass ".
A drugged person is easier to manipulate … Researcher S. Rose noted a very important feature of the rock epidemic:
