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A Brief Origin Of Satanic Rock, Robert Johnson's Blues
01-30-2007, 07:38 AM,
#1
A Brief Origin Of Satanic Rock, Robert Johnson's Blues
The first thing you need to know is that a true Satanist will tell you that any group that puts Satanic imagery on their album covers or in the music is bogus. Every single one.

The other thing you need to know is that a true Satanist will also tell you that all music is Satanic, every single note.

Consequently, an article on Satanic rock is a tricky proposition insofar as none of it is real; explicitly Satanic rock like Venom is really no more Satanic than The Carpenters. And the Carpenters are just as Satanic as Venom.

However, there is a history to the appearance of Satanic imagery and references in rock music. So consider this an attempt to organize that history a little.

Part I: The Blues

Robert Johnson


The Blues has always been the Devil's music. Music that glorified drinking, womanizing, gambling, dope, violence, and depravity, blues was an easy target for ministers and pastors of the South, who countered with sermons forbidding the congregation to listen to it. Many god-fearing churchgoers heeded this message, establishing Gospel as the safer alternative. Even some bluesmen were convinced; legendary blues picker Gary Davis usually refused to play blues after he was ordained as a reverend in 1937. Ultimately, he relented just before his death and recorded a historic session of blues (secular and gospel) in 1971. He died soon after.

One of the most pervasive legends surrounding the blues is that of legendary delta guitarist Robert Johnson, often considered the first bluesman in the chain that ultimately pointed towards the development of rock 'n' roll. Johnson was an acoustic player of the 1930's who died under mysterious circumstances in 1938.

The legend went that Johnson, not blessed with guitar talent when he first began playing professionally, yearned for overnight success that would put him in league with the other guitarists on the circuit. One night, he heard a voice that told him to visit the crossroads by Dockery's plantation at midnight. There, he was met by a large black man who apparently was the devil in disguise. The big man took the guitar from Johnson, tuned it, and returned it to him.

Johnson's improvement on his instrument was swift and amazing (although historically, it took him about a year to become great). He earned the instant recognition of big name guitarists like Son House, who championed his cause. However, Johnson was tormented in his dreams by visions of the devil, and hellhounds on his trail. In his waking hours, Johnson played the role of bluesman hero, chasing women, drinking, behaving arrogantly. In 1938, during a show, he was poisoned (possibly by a jealous husband of a woman he had been putting moves on). The poison had him foaming at the mouth and talking babble, he died within days. His last words were "I pray that my redeemer will come and take me from my grave."

Fearing the devil, the townspeople buried him in an unmarked grave.

Johnson's recorded legacy supposedly refers to his deal with the devil in "Crossroads Blues", "Me and the Devil Blues" and "Hellhounds On My Trail".

A more likely explanation for Johnson's tremendous guitar prowess was probably a magical ritual known as "practice" as well as help from a guitar tutor, one Ike Zinneman (an unrecorded bluesman known for practicing in the local cemetery, sitting on gravestones). But the sold his soul legend persists to this day.

Part II: The Satanic 60's

Jagger at Altamont, 1969


When rock 'n' roll appeared in the 1950's, and its effect on teens became known, it was only natural that it would be derided as the Devil's music as well. It was also attacked as decadent, dangerous, immoral, obscene, and even part of a Communist think tank's psych-op assault on the West. Rock music was one of the first cultural movements in America that was somewhat colorblind as well; white musicians covered black songwriters, black musicians covered white ones. White kids bought records by black musicians, which alarmed fundamentalist, segregationist elements in society. Many forces aligned in the late 50's to end the menace before it could get out of hand. So Elvis was drafted, Chuck Berry arrested, Jerry Lee Lewis blackballed. Eddie Cochrane and Buddy Holly were killed in accidents, Little Richard became a preacher. By the early 60's, rock was, for all intents and purposes, dead. Gone with it were the hip shaking, dancing, shaking, and partying the Devil commanded.

It was a short-lived victory for the legions of decency. The Beatles rolled into town in 1964, and worse, so did the Rolling Stones and Animals. The British Invasion was also greeted with accusations of communist plot and devil's music, but it was too big to stop. Also too big was the demographic who listened to it, the first Baby Boomers to reach adulthood. The enormous demographic swing of the 1960's saw an unprecedented number of young people reach prime record buying age.

The 60's were a time of reckless experimentation and fads. Drugs became a significant component of white suburban life for the very first time, as youth experimented with pot and LSD. The drug experience, coupled with a new political awareness thanks largely to the Vietnam War and the Civil Rights movement, helped create a new underground youth movement, which popularly came to be known as the counterculture, egged on by the Turn On, Tune In, Drop Out and Never Trust Anyone Over Thirty philosophies of the day.

The counterculture was a polymorphus thing; it branched off into many avenues; it never was a single shared thing except as a huge demographic, but rather thousands of vaguely anti-establishment pastimes to hardcore radicalism to weird drug scenes to a proliferation of cults. Many in the counterculture were political, as the anti-war and pro-civil rights movements gathered steam. Some were holistic, or environmental, or mind-and-body related. Young people began exploring new realms of spiritualism. Some were drawn to Eastern religions like Buddhism and Krishna. Others were drawn to other disciplines like yoga. And still others developed a new-age curiousity about astrology, ESP, and ultimately, Satanism.

The time was ripe; Satanism had become cool. In 1966, one Anton LaVey established the 'official' Church of Satan, based on his book "The Satanic Bible". In the nutshell, LaVey promoted a lifestyle of self-indulgance; desires were meant to be fulfilled. He favored rituals that involved bodily fluids which were deemed sacred; as a result, some looked upon his church as some kind of sex cult. He didn't refer to the devil in the Christian sense, rather, he saw Satanism as a means of harnassing supernatural energy that circulates in the ambient universe. For a brief spell, he attracted trendy followers to his church, among them wannabee starlets and musicians and the like.

It was during the psychedelic-satanic 60's that rock music first began to explicitly reference modern Satanic imagery and references.



http://freewayjam.blogspot.com/2005_11_05_...am_archive.html
In the 60's, people took acid to make the world weird. Now the world is weird and people take Prozac to make it normal.

As a reputed atheist, the reverential nature of his film was surprising, but Pasolini himself said &If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief.&


[Image: Copyofsoldier2.jpg]
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01-31-2007, 07:20 AM,
#2
A Brief Origin Of Satanic Rock, Robert Johnson's Blues
Crossroads (1986)

Quote:Plot: Eugene Martone, a teenager studying classical guitar at the Julliard School of Music and with a passionate love of blues music, tracks down aging blues legend Willie Brown in an old people's home in the hope that Willie can help him find the legendary Robert Johnson's never-recorded thirtieth song. Willie persuades Eugene to spring him from the home and they head for the Mississippi Delta to find the lost song. Along the way Willie gives Eugene lessons in what it takes to be a blues man. But it soon becomes apparent that Willie's real intention is going back to a place called The Crossroads where he once sold his soul to the Devil for success as a blues man, but which he now, having led an unhappy life, wants back.


http://www.moria.co.nz/fantasy/crossroads.htm

...was a good movie.
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01-31-2007, 07:38 AM,
#3
A Brief Origin Of Satanic Rock, Robert Johnson's Blues
Quote:Crossroads (1986)

Quote:Plot: Eugene Martone, a teenager studying classical guitar at the Julliard School of Music and with a passionate love of blues music, tracks down aging blues legend Willie Brown in an old people's home in the hope that Willie can help him find the legendary Robert Johnson's never-recorded thirtieth song. Willie persuades Eugene to spring him from the home and they head for the Mississippi Delta to find the lost song. Along the way Willie gives Eugene lessons in what it takes to be a blues man. But it soon becomes apparent that Willie's real intention is going back to a place called The Crossroads where he once sold his soul to the Devil for success as a blues man, but which he now, having led an unhappy life, wants back.


http://www.moria.co.nz/fantasy/crossroads.htm

...was a good movie.


One of my favorites!
The amazingly talented Steve Vai, plays the devil's guitarist, Jack Butler. Since Vai was such an impression on my playing, does that mean I'm a Satanic guitar player? :dazed:
“Today’s scientists have substituted mathematics for experiments, and they wander off through equation after
equation, and eventually build a structure which has no relation to reality. ” -Nikola Tesla

"When the power of love overcomes the love of power the world will know peace." -Jimi Hendrix
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02-02-2007, 09:36 PM,
#4
A Brief Origin Of Satanic Rock, Robert Johnson's Blues
Some people say that about musical genius. The case of Paganini for example:

http://www.paganini.com/nicolo/nicindex.htm
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02-02-2007, 09:51 PM,
#5
A Brief Origin Of Satanic Rock, Robert Johnson's Blues
At the end of the movie, Eugene pulls out a classical piece to win the duel and it happens to be Paganini's 5th Caprice...played by Steve Vai. LOL
No way Maccio could have been taught to play it. he he
“Today’s scientists have substituted mathematics for experiments, and they wander off through equation after
equation, and eventually build a structure which has no relation to reality. ” -Nikola Tesla

"When the power of love overcomes the love of power the world will know peace." -Jimi Hendrix
Reply
02-06-2007, 11:47 AM,
#6
A Brief Origin Of Satanic Rock, Robert Johnson's Blues
So, because there was a movie made about a deal with the devil based loosely on Robert Johnson, all blues and rock are to blame? I don't mind going to hell if it means you won't be there, dumbass.
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02-07-2007, 05:54 AM,
#7
A Brief Origin Of Satanic Rock, Robert Johnson's Blues
Quote:So, because there was a movie made about a deal with the devil based loosely on Robert Johnson, all blues and rock are to blame? I don't mind going to hell if it means you won't be there, dumbass.


Hey keep smoking your joint, and when you wake up tomorrow and are able to read and understand what you are reading then post again. :biggrin:
In the 60's, people took acid to make the world weird. Now the world is weird and people take Prozac to make it normal.

As a reputed atheist, the reverential nature of his film was surprising, but Pasolini himself said &If you know that I am an unbeliever, then you know me better than I do myself. I may be an unbeliever, but I am an unbeliever who has a nostalgia for a belief.&


[Image: Copyofsoldier2.jpg]
Reply


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