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Johann Pachelbel’s “Canon in D”: Is This The Music Industry’s Secret Weapon?

In music, I now believe these 8 chords are what’s used to create a subconscious gateway; D, A, B, F (sharp), G, D, G, A.  Have you ever heard a song for the very first time yet it was somehow familiar?  Keep reading.

From the 20th Century (that’s 1901 to be exact) on, we continue to hear Johann Pachelbel (1653 – March 3, 1706) works which absolutely has permeated our brains and it appears (CLEARLY) that this simple method of using these 8 chords in D has the power to emotionally impact the masses.  Now this [post] is really what a ‘theory’ is (‘conspiracy’ and ‘theory’ should never automatically go hand in hand when you’ve researched facts).  This guys’ rant about this song is a big clue (in my opinion) as to how the evildoers behind the usurping of the music industry was able to easily happen and therefore used as an avenue to PROGRAM US!  If you ever REWARD yourself and take the time to listen to the “lost tapes/works” of John Todd, you’ll come to understand just how dangerous secular music is to the human soul and it will actually become crystal clear.  Do I believe that every single artist is a puppet, sold their souls or is under mind control?  Of course not but the evidence is undeniable that the mainstream (within any genre to include gospel), more popular acts (from before we were born as well) has this same formula of chords throughout musical time! 

What do Blues Traveler, Vitamin C, Aerosmith (yes, Aerosmith!), Machine Head, Twisted Sister or EVEN the theme song from the sitcom “Lavern & Shirley” (among COUNTLESS others) have in common?  The very hypnotic formula of Johann Pachelbel’s “Canon in D” through which our subconscious has been under attack.  Check out Rob Paravonian’s very interesting rant about a song we all played in Orchestra.

The “illuminated ones” found something in this mans’ work and has put it to very successful use.  John Todd recalls a conversation with David Crosby;

Do they still take the master to the Temple Room?  [Crosby] Yes.  Do they still conjure demons into the master? [Crosby] Of course.  “… what’s the main reason for this?” [Crosby] So that we can place spells on people that we couldn’t CAST spells upon…”

He describes that (people who are admitted) witches and warlocks (Satanic, Wiccan, Pagan, etc. believers/worshipers) do exist within the industry and again… his last known recordings were from the mid-70’s (all of his stuff is under the blogroll).   So the next time you hear these 8 familiar chords coming through in a song, I hope this post will kick in ESPECIALLY after 108+ MILLION people watched Beyonce become possessed at that damn superbowl!!!! 

Music.  It’s not JUST entertainment.

More Related Posts on The Music Industry’s Dark Mission:

“Is this what’s in music…”

“No More Musical Posts…”

“Did You Know (#5)…

“Frank Zappa…”

“River Phoenix…”

“Beyonce’s Possession…”

3 thoughts on “Johann Pachelbel’s “Canon in D”: Is This The Music Industry’s Secret Weapon?

  1. A couple of thoughts…

    Firstly, the name of the song is “Canon in D” not “Cannon in D”. Also, I think it is much safer to assume that this particular chord progression is so prevalent in pop music due to the lack of creativity and musical understanding by those involved in the music industrial complex. I would estimate that more than 50% of pop songs are either using: the progression in Canon in D [I, V, vi, iii, IV, I, IV, V]; the one-four-five progression [I, IV, V]; or the balladeer’s favorite [I, vi, IV, V] think of older songs like “Sleepwalk” or “Earth Angel”. Those are the chord progressions that we are most used to hearing in western music. When you step outside of the realm of pop into other genres, such as Jazz or classical music of 20th century, you see a much greater variation in melody and chord progression.

    • Hi there, Mr. B! Thanks for the correction. I find it challenging to edit what I write and I guess I was thinking of a surname therefore I missed that! 😉

      And you make a great observation! I agree that older songs maintained the balladeer feel but I disagree with you when mention the lack of creativity. To the contrary. It’s the music biz that limits the artist these days. I remember one demo that came through the office. It was in a pile that no one had gotten around to since it was a slow day I went through this box and gave them a listen. I found a goldmine! Set up the meeting and when the lady showed up, well– I was shocked by the response the bigwigs had at the label and that’s when I got my reality check that it was no longer about singing or originality but instead had everything to do with “the look”. We also wanted this woman’s voice because we thought she’d be perfect for a song the label already had. She didn’t get the deal needless to say. And that was back in ’93. Creativity was squashed many moons ago, I’m afraid. There’s probably been plenty of acts who sing about these truths but the one that does it so well is by a lady who was once on a major label (she was a real sweetheart too) and found out that the only way to “the top” is that villainous compromise but she chose to go independent and created her own label and rocks the shyt out the serious message she brings. Amel Laurrieux’s “Say You Want It All” (gotta love it!) The creativity is definitely there but has been snuffed out in the big time arena.

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