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RHYTHM, RIOTS and REVOLUTION by Rev

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RHYTHM, RIOTS and REVOLUTION by Rev RHYTHM, RIOTS AND REVOLUTION by Rev. David A. Noebel AN ANALYSIS OF THE COMMUNIST USE OF MUSIC — THE COMMUNIST MASTER MUSIC PLAN "Even music may be intoxicating. Such apparently slight causes destroyed Greece and Rome, and will destroy England and America/' Henry David Thoreau. Walden, The New American Library, 501 Madison Ave., New York, Eighteenth Printing, December, 1963, p. 147. First published in 1854. CHRISTIAN CRUSADE PUBLICATIONS Tulsa, Oklahoma 1966 Copyright ® 1966 by Christian Crusade Publications. All rights reserved. No portion of this book may be reproduced in any form without written permission from the publisher, Christian Crusade Publications, Box 977, Tulsa, Oklahoma 74102, except by a reviewer, who may quote brief passages in connection with a review. Manufactured in the United States of America DEDICATION To fhe young people of America who must ultimately cope with the problems set forth in this book, and par­ ticularly to six that I love and know so well: Brent David and Brenda Joy Noebel; Billy James //, Bonnie, Becky and Brenda Jo Hargis. "And Jesus called a little child unfo Him, and set him in the midst of them, and said , . whoso shall re­ ceive one such little child in my name receiveth me. But whoso she!! offend one of these little ones which believe in me, it were better for him that a millstone were hanged about his neck, and that he were drowned in fhe depth of fhe sea " Matthew 18:2, 3, 5, and 6. ACKNOWLEDGMENTS I wish to express my gratitude for the co-operation of the following publishing firms for granting permission to quote copyrighted material from their publications: Capricorn Books, 200 Madison Ave,, New York 16, New York: CONDITIONED REFLEX THERAPY by Dr. Andrew Salter. The Devin-Adair Company, 23 East 26th Street, New York 10, New York: THE CONSERVATIVE AMER­ ICAN by Dean Clarence Manion; THE FABRIC OF TERROR by Bernardo Teixeira. Dover Publications, Inc., 180 Varick Street, New York 14, New York: CONDITIONED REFLEXES by Ivan P. Pavlov. Liveright Publishing Corporation, 386 Park Avenue South, New York 16, New York: MUSIC AND YOUR EMOTIONS edited by Dr. Emil A. Gutheil. Random House, Inc., 501 Madison Avenue, New York 22, New York: WITNESS by Whittaker Cham­ bers. Simon and Schuster, Inc., 630 Fifth Avenue, New York 20, New York: IMPACT OF SCIENCE ON SO­ CIETY by Bertrand Russell; A SPANIARD IN THE WORKS by John Lennon. Veritas Foundation, West Sayville, New York: THE GREAT DECEIT by Zygmund Dobbs. //, through oversight or carelessness, permission has not been obtained for some particular work, apologies are in order and the correction assured immediately. CONTENTS ! DEDICATION ................................................................. 3 ACKNOW LEDGM ENTS............................................... 4 PREFACE .......................................................................... 9 FOREWORD ........... ......................................................... H Part One: INTRODUCTION ....................................... 16 1. Communist Use of Mind W arfare................ 17 2. Power of Music for Good or E vil................ 19 3. Communist Use of Hypnotism .................. 21 4. Pavlov. Luria and Platonov ......................... 22 5. Communist Infiltration .................................. 27 Part Two: COMMUNIST USE OF RHYTHMIC- HYPNOTIC MUSIC .............................. 29 1. Nature of Red Record Companies................ 30 2. Analysis of Red R ecords.................................. 38 3. Social Psychology and Bertrand Russell .... 47 4. Distribution of Communist Records in United States .................................................... 48 5. Counterattack, Young People;s Records and Torrance, California .................... ................. 57 6. Responsibility to our Children .................... 74 Part Three: COMMUNIST USE OF BEAT MUSIC 76 1. Tampering with oar Teenagers ..................... 77 2. Pavlov’s Conditioned Reflex Technique .. 82 3. Beaties' Religious Philosophy......................... 95 5 4. Beatle Performances ................................... 108 5. Destructive Nature of Beatle M u sic......... 110 Part Four: COMMUNIST USE OF FOLK MUSIC 120 1. People's Songs, Inc. and People's Artists, Inc. 121 2. Pete Seeger and Woody Guthrie ............... 126 3. Sing Out!, Folkways Records and Oak Publications .......................................... ........... 137 4. Broadside magazine of New York City .... 146 5. Communist Subversion of Folk Music .... 156 6. Folk Music and the Negro Revolution .... 176 7. Folk Music and the College Revolution .. 195 Part Five; COMMUNIST USE OF ROCK ’N’ FOLK ...................................................... 211 1. Definition of Rock V Folk ...................... 212 2. Power of the Ballad ............ ...................... 213 3. Folkways and Metro-Goldwyn-Mayer .... 214 4. Prince of Rock ’n’ F o lk .............................. 216 5. The Rock ’n’ Folk Magazine...................... 223 6. “Eve of Destruction” and “Like a Rolling Stone’' .......................... ...................... 228 Part Six: CONCLUSION .......................................... 233 1. Music Hath C h arm ...................................... 234 2. “Hot” Jazz ................................................... 236 3. Spiritual Implications .................................. 237 4. Guide to Action .......................................... 242 5. Edward Hunter’s Brainwashing................. 245 6. Operation Alert ........................................... 246 7. H. C. U. A., S. I. S. S., and California’s . 247 Fact-Finding Subcommittee 8. Internal Revenue Service .......................... 248 9. Operation Distribution .............................. 248 Part Seven: APPENDIXES ......................................... 250 6 1. Fourth Report of the California Fact-Finding Committee 2. 100 Things You Should Know About Communism and Education 3. May 14th, 3 951, Guide to Subversive Organizations and Publications 4. Prussion’s letter to Glenn 5. Hugh Burns* letter 6. Knight's letter 7. Boucher's letter S. Bryan’s transcript 9. Good Housekeeping letters. A., B., and C. 10. Parents' Magazine's letter 11. National Council of Churches letter 12. Federal Communications Commission letter 13. Fifth Report of the California Fact-Finding Committee 14. House Committee on Un-American Activities Annual Report for 1952 15. News and Views on Seeger 16. House Committee on Un-American Activities An­ nual Reports for (A) 1960. (B) 1961 and (C) 1962 17. House Committee on Un-American Activities Report on The Communist Party’s Cold War against Congressional Investigation of Subver­ sion 18. Books by Oak — Records by Folkways 19. Folkways Newsletter and Federal Government 20. Scholastic Magazine and Folkways Records 21. Scholastic order form for Folkways Records 22. Metro-Goldwyn-Mayer and Folkways Records, A and B 23. Broadside 24. International Publishers and Freedom in the Air 25. Almanac Singers 26. Listing of Sing Out!, Broadside songs and singers INDEX ......................................................................... 331 7 PREFACE Karl Marx in his 1848 Communist Manifesto overtlv and proudly proclaimed to the world, “The Communists disdain to conceal their views and aims.” The Communists, following the example of their phrenological master, have openly and endlessly declared culture ( music, art and literature) to be in their sphere of weaponry. Moshe Decter. in The Profile of Com­ munism. admits, “The Communists endeavor to capture men’s minds through the cultural offensive.”1 J. Edgar Hoover, director of the Federal Bureau of Investigation, stated that the Communists “have infiltrated every con­ ceivable sphere of activity; youth groups, radio, television, and motion picture industries; church, school, educational and cultural groups; the press: nationality minority groups and civil and political units.”2 In the musical arena the marginal neuter might well congratulate the revolutionary socialists for their successful use of music;3 for inflicting upon the American public a program announced beforehand and persistently pursued until near perfection and completion. The Communist in­ filtration into the subversion of American music has been nothing short of phenomenal and in some areas, e.g.. folk music, their control is fast approaching the saturation point under the able leadership of Pete Seecer. As many have had a vital part in this study of the Communist use of music, a word of appreciation is in 1. Moshe Doctor, The Profile of Commnnism, Crowell-Collier Publishing Company. New York. 1961. p. 100. 2. Appropriation testimony of John Edgar Hoover, director. Federal Bureau of Investigation, before the House Subcom­ mittee on Appropriations on March 6, 1961. p. 49. 3. We have never contended that any particular type of music has been ‘ invented'’ by the Communists. Only that certain types have been “used’’ by the Reds. Life Magazine (May 21. 1265. p, 92) was seeking to disprove the former, which we have never held. It has not disproved the latter, which we. in fact, hold. 9 * order for those who faithfully shared the burdens of the project. Mr. J. D. Riggins must receive special mention since it was this gentleman who providentially encountered the Communists’ use of music for children. When his own son continued to come home from school sleepy (as if drugged) the parents became highly concerned. Mr. Rig­ gins, a student of hypnosis, eventually recognized the symptoms as threshold hypnosis. His boy had gradually manifested
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