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Rock Music and Occultism.

One can notice through the phrases in rock music that it has common elements with religion. This music for example, recognizes a higher force that rules the world. However it becomes quickly obvious that it is not God that is praised as the Highest Benevolent Being and not even the blind "fate" of the pagan poets, but someone dark and cruel. On the periphery of the fundamental channel of rock music, there is a group that has extreme anti-Christian leanings. The cacophony of some "heavy metal" groups are permeated with occult and satanist motives. Those who overindulge in this type of chilling music are deservedly drawn down into infernal regions.

Here are some examples of ritualistic practices of black mass. During a concert staged by "Gwart," one of the participants (on stage) severed the head of a human dummy and then proceeded to sprinkle blood on the audience. Then the members of the group smeared themselves with blood, taken from the dummy and drank it! They also brought in animals on to the stage and tore their intestines out.

Even in 1966, John Lennon boasted that Christianity would pass away and that the Beatles would become more popular than Christ. He portrayed Christ under the guise of a character he named "Jesus l. Pifco, a garlic eating, stinking, little yellow greasy fascist bastard Catholic Spaniard" (John Lennon, A Spaniard in the Works, New York, Simon & Schuster, 1965 p. 14). As we all know, he died tragically in 1980. David Bowie, one of the biggest rock stars in 1976, declared "Rock has always been devil's music."

According to Spin (Jan. 1991, p. 29) Danzig "embodies both rock's past glories and the promise of its future." Yet in songs like "Am I Demon," "Mother," and others, he glorifies occult ritual and sacrifice, violence and spiritual anarchy. In one blasphemous video a woman at the foot of the cross looks up and sees not Jesus but a graphic portrayal of the devil, arms outstretched, hanging on the cross. The immediate impression this confusing image gives is either that Jesus was really the devil or that what the cross symbolizes is satanic.

It is known that from its very beginning, rock music was rebellious in content, defying parental and societal authorities. Today some of the newer rock groups are openly calling for the rejection of traditional Christian principles. In one of the earlier interviews conducted by the Rolling Stones magazine with David Crosby, from the group "Crosby Stills and Nash," he commented, "I figured the only thing to do was to swipe their kids... By saying that, I'm not talking about kidnapping. I'm just talking about changing their value system, which removes them from their parents' world very effectively" (Rolling Stone, vol. 1 p. 410). In the journal "Jesserson Starship," Paul Kanter confesses: "Our music is intended to broaden the generation gap, to alienate children from their parents ." (In Tinglehoff Documentation of Expose, p. 4).

Mick Jagger of the Rolling Stones has remarked, "There is no such thing as a secure, family-oriented rock and roll song" (same journal p. 5). Jon of Bon Jovi observed, "I wanted to rebel against anything and everything, and it happened that I was able to do it by playing rock and roll in a band" (Metal Edge, Aug. 1987, p. 12). John Cougar reveals, "I swear or cuss because I know that it's not socially acceptable. I hate things that are 'this is the way you are supposed to behave.' That is why I hate schools, governments, and Churches" (In Tinglehoff Documentation of Expose, p. 6).

 

Nikki Sixx of Motley Crue comments: "We never set out to be anybody's role model. But since we have become that, we are trying to give our fans something to believe in. On the second album, we told them to "Shout at the Devil." A lot of people... think that song is about Satan. That's not true. It's about standing up to authority, whether it is your parents, your teacher or your boss. That is pretty good advice, I think. But I'm sure that any parent who hears it is going to think it is treason" (Rock Beat, 1989 p. 41).

Rock music almost unanimously rejects Christian standards and beliefs. For example, reading through a text like Rock and Roll Babylon is as depressing as reading Hollywood Babylon; the anti-Christian nature of these subcultures are laid bare in graphic terms. From The Doors' Jim Morrison's mocking, screaming hatred of Christian prayer ("Petition the Lord with Prayer") to Skid Row's "Quicksand Jesus" ("Are we saved by the words of bastard saints?") to the more explicit blasphemies, rock culture has often identified its aversion to Christian faith. Ozzy Osbourne acknowledges "I'm not a born again Christian but a born again Hitler (Cream Metal, March 1986 p. 12).

Here are more quotations from "Heavy Metal." "The Oath" by the band King Diamond: "I deny Jesus Christ, the deceiver, and I adjure the Christian faith, holding in contempt all of its works." "Possessed" by the band Venom: "I am possessed by all that is evil. The death of your God I demand. I ... sit at Lord Satan's right hand," and "I drink the vomit of the priest, make love to the dying whore, Satan is my master incarnate, hail, praise to my unholy host."

Billy Idol attempts "to show what a human rip-off religion is." Leon Russell thinks that "organized Christianity has done more harm than any other single force I can think of in the world" and suggests that the religion of rock and roll replace it. In an interview in Spin, Sinead O'Connor emphasized, "It's a huge abuse to teach children that God is not within themselves. That God is pollution. That God is bigger than them. That God is outside them. That is a lie. That's what causes the emptiness of children" (Spin, Nov 1991, p. 51). In "Hymn 43" the band Jethro Tull conveyed this message, "We are our own saviors, and if Jesus saves, then He better save Himself" (Cream Metal, Mar. 1986, p. 12). There is no limit as to the amount of blasphemous citations one can obtain from these songs.

In rock and roll as well as "heavy metal" music, there is a strong occult influence. Cyril Scott was an eminent composer during his lifetime. He was a student of the occult religion known as Theosophy and also interested in the potential of using music for the occult. Two of his books, The Influence of Music on History and Morals and Music: Its Secret Influence Throughout the Ages, were received through inspiration of the spirit world by one of the Theosophic spirit guides (that also Madame Blavatsky, founder of the theosophical movement in pre revolutionary Russia). In the latter book, Scott tells us that, from his talks with this spirit, it: "takes a special interest in the evolution of Western music .... Indeed, he considers it advisable that students of occultism of all schools should more fully appreciate the great importance of music as a force in spiritual [occult] evolution, and to this end he has revealed much that has hither to not been revealed, and that cannot fail to prove of paramount interest to all music-lovers."

Scott himself is convinced that "the great Initiates [in the spirit world] have vast and imposing plans for the musical future" (p. 199). What is this plan? It is to use music as an occult medium through which to develop altered states of consciousness, psychic abilities, and contact with the spirit world. Scott explains: "Music in the future is to be used to bring people into yet closer touch with the Devas [spirits]; they will be enabled to partake of the benefic [beneficial] influence of these beings while attending concerts at which by the appropriate type of sound they have been invoked .... The scientifically calculated music in question, however, will achieve the two-fold object of invoking the Devas and at the same time stimulating in the listeners those [psychic] faculties by means of which they will become aware of them and responsive to their [the spirits'] influence" (pp. 200-201).

Scott concludes his book by citing the words of his spirit guide: "Today, as we enter this new Age, we seek, primarily through the medium of inspired music, to defuse the spirit of [occultic] unification and brotherhood, and thus quicken the (spiritual) vibration of this planet" (p. 204). This genre of "inspired music" is now found in local record stores. Some "New Age" music is spiritistically inspired for specific occult goals. The "composers" of the New Age music claim it can foster meditation, help develop psychic power, alter consciousness, induce "astral" travel, and transform personality. Other contemporary rock musicians parallel these ideas.

Many of the big-time rock stars have been heavily involved not only in the occult but also in overt Satanism. Trying to describe his own "inspiration" process, [John] Lennon said: "It's like being possessed: like a psychic or a medium...." Of the Beatles, Yoko Ono has said, "They were like mediums. They weren't conscious of all they were saying, but it was coming through them..." Marc Storace, a vocalist with the heavy-metal band Krokus, told Circus magazine: "You can't describe it except to say it's like a mysterious energy that comes from the metaphysical plane and into my body. It's almost like being a medium..." "Little Richard" had similar experiences and identified Satan as the source of his inspiration: "I was directed and commanded by another power The power of darkness ... that a lot of people don't believe exists. The power of the devil. Satan." Jim Morrison (of The Doors) called the spirits that at times possessed him "the Lords," and wrote a book of poetry about them. Folk rock artist Joni Mitchell's creativity came from her spirit guide "Aft." So dependent was she upon 'Aft" that nothing could detain her when he "called."

The prevalence of such "spirits" among top rock stars seems to go beyond the realm of coincidence. Superstar Jimi Hendrix, called "rock's greatest guitarist" ... "believed he was possessed by some spirit," according to Alan Douglas. Hendrix's former girlfriend, Fayne Pridgon, has said: "He used to always talk about some devil or something was in him, you know, and he didn't have any control over it, he didn't know what made him act the way he acted and what made him say the things he said, and songs ... just came out of him." (Dave Hunt, America: The Sorcerers New Apprentice, Eugene, OR: Harvest House, 1988, pp. 239-40).

Many other rock stars practice occultism, and their compositions describe their condition in terms of being possessed or in a trance. (Larson, "Larson's Book of Rock," pp. 125-35, Hunt, America: The Sorcerers New Apprentice, pp. 245-246). It is now well known that a large number of musicians are discovering an interest in occultism, sorcery and sometimes even satanism. Some names of "black metal" groups have an association with the occult. For example, "Coven," "Dark Angel," "Demon," "Infernal Majesty," "Possessed," "Satan," "Cloven Hoof" and others. (Details for Men, July 1991, pp. 100-101).

Ozzy Osbourne noted, "I never seem to know exactly what I'm gonna do next. I just like to do what the spirits make me do. That way, I always have someone or something to blame" (Faces, Nov. 1983 p. 24). Osbourne, a former lead singer of "Black Sabbath" triumphantly summoned satan at one of his concerts in Canada. "Sometimes I feel like a medium for some outside force... " (Tinglehoff, Documentation of Expose, p. 21). Black Sabbath has also made altar calls to Lucifer at some of their concerts. In "Master of Reality" they sing that he is "lord of this world" and "your confessor now."

According to a Rolling Stone interview, Peter Criss, the first and most famous drummer of the rock band KISS stated, "I believe in the devil as much as God. You can use either one to get things done" (Rolling Stone, Jan 12, 1978).

Another guitarist when asked "From where do you draw the strength for such delivery?" He said,"Most probably from below, up there there is no Rock-and-Roll." Members of the group Iron Maiden openly admit that they are dabbling in the occult, including witchcraft (Cream, Sept. 1982). One Iron Maiden concert in Portland, Oregon, opened with the words "Welcome to Satan's sanctuary." Glenn Tipton of the group Judas Priest confessed that when he goes on stage, he goes crazy: "It's like someone else takes over my body" (Hit Parade, Fall 1984).

In describing what a Van Halen concert is like, David Lee Roth commented, "I'm gonna abandon my spirit to them [emotions], which is actually what I attempt to do. You work yourself up into that state and you fall in supplication of the demon gods" (Rock, April 1984).

Guitarist Mick Mars of Motley Crue described his band as "demonic, that's what we are" (Heavy Metal Times, May 1983). Nikki Sixx referring to their "Shout at the Devil" stage show commented, "We have skulls, pentagrams, and all kinds of satanic symbols on stage .... I've always flirted with the devil" (Circus