Rock ’n’ Roll

24/05/2022 01:50

Rock ’n’ Roll


Although the emergence of Rock ’n’ Roll music in the United States of America has been traditionally associated with images of sexual intercourse, that is, the rock was the penis, and a woman rolled around on top, or underneath, etc., by the late 20th century there’d been a paradigmatic shift towards Rock ‘n’ Roll being understood to mean the coffin box, with the occupying corpse inside rocking over the metal rollers on the way for the disease to be rolled out and incinerated. The genre was characterized in its early days as ‘rhythm and blues’, while the term originated sometime around Bill Haley and His Comets’ (1952-) release of ‘Rock Around The Clock’ (1954), interpreted as a popular euphemism for 24-hour sexual intercourse, or the dance marathon; a sponsored charity activity:


‘When the clock strikes twelve, we'll cool off then

Start a rockin' round the clock again

We're gonna rock around the clock tonight

We're gonna rock, rock, rock, 'till broad daylight

We're gonna rock, gonna rock, around the clock tonight.’1



 After its introduction in 1982, police adopted the Glock, a semi-automatic hand gun, manufactured by Austria’s Glock Ges.m.b.H., which gave a whole new meaning to rockin’ around. Especially in Eastern Europe, where the communist former Soviet Union had occupied nations as its client satellite Republics, subsequent to the defeat of German ambitions to enslave Europe in WWII (1939-45). The withdrawal of the Union of Soviet Socialist Republics (USSR) from 1991, with its formation of the Commonwealth of International States (CIS), along with Byelorussia and the Ukraine, as the equally ‘Godless communism’ of the Russian Federation, however, resulted in a war torn region susceptible to bouts of ‘ethnic cleansing’, for example, in the former super state, Yugoslavia, ‘rape camps’ were built by Serb militia, during the Bosnian war (1992-95), to incarcerate Moslem women and give them ‘Christian’ infants. The communist church was being built on the rock of its Glock’s rounds.



 The 1950s rock genre became submerged in a more mellow sound, labeled ‘Surf’ music, which owed much to improved studio technology, as well as that of the musicians’ instruments. During the period of the marketing of ‘the king of Rock ‘n’ Roll’, Elvis Presley, as a popular movie star, in the role of Lucky Jackson, alongside everyone’s favorite dancer at a beach party, actress Ann Margret, as Rusty Martin, in Viva Las Vegas (1964), after his role as ex-con Vince Everett in the earlier, more raunchy, Jailhouse Rock (1957), set the standard:


‘Number forty-seven said to number three:

"You're the cutest jailbird I ever did see.

I sure would be delighted with your company,

Come on and do the Jailhouse Rock with me."’2



 The Beatles had led the English foray into rock, becoming subsumed as the popular ‘pop’ music modern genre, since their founding in 1960, and the ‘beat’ group were most successful in touring the US, before breaking up over ‘musical differences’ in 1970. The contemporary rock music scene, resuming the foreground in 1969, with the founding of the English group, Led Zeppelin, ensured continuity. Inspired, ‘heavy rock’ groups flourished in the USA and Britain, for example, in the US, Jefferson Airplane (1965-), and The Eagles (1971-), and in England, Pink Floyd (1965-), and Genesis (1967-), characterized by soft melodies alongside harder electric resonances. Led Zeppelin’s musical style was sufficiently unique to be recognized as an entirely new genre, ‘heavy metal’ music, with imitators, for example, Canada’s Rush (1968-), US’ Bon Jovi (1983-), and Guns ‘n’ Roses (1985-), and England’s Deep Purple (1968-), and Black Sabbath (1968-), distinguished by searing lead guitar riffs, and a rhythmic pounding from drums and bass guitar; allied to often surprisingly mellifluous vocals:


‘From the houses of the holy

We can watch the white doves go

From the door comes Satan's daughter

And it only goes to show

And you know.’3



 After a period of what was known as ‘pomp rock’, because of its orchestral style, as practiced by such US’ ‘stadium bands’ as Kiss (1973-), Foreigner (1976-), Toto (1977-), England’s Supertramp (1969-), and Sweden’s Europe (1979-), there was a movement, particularly in the US, towards ‘grass roots’ reassessment, and the ‘grunge metal’ of what were termed ‘garage bands’, for instance, Nirvana (1987-) and Pearl Jam (1990-), came to take center stage, because of the simplicity of their preparation, recording and performing, although the final sound was as well produced by the record companies as the operatic sound of the pompously inflated had been. In the late 1970s in Britain, which earlier in the decade had adopted as its flagship, ‘Glam Rock’, projecting a macho image of a hermaphrodite, wearing lipstick and eyeshadow, the desire to reexamine basic underlying impulses resulted in the social disgust of ‘Punk Rock’, a spare grass roots’ musical style; primitive, and rebellious, which in the rock genre produced similarly abrasive metal bands; like Saxon (1977), prescient of 9/11,* ‘747 (Strangers in the Night)’, and Def Leppard (1980-):


‘We've got a 747 coming down in the night

There's no power, there's no runway lights

Radio operator try to get a message through

Tell the flight deck New York has no lights

There's no power what do we do?’4



 Renewed by ‘the Punk explosion’, the 1980s British music industry asserted a changed image, with its ‘New Romantic’ movement, a genre thoughtfully formulated, and implemented sensibly by ‘art house’ groups; such as Joy Division (1976-), Duran Duran (1978-), named for actor Milo O’Shea’s portrayal of the villain, Durand-Durand, in the science fiction movie, Barbarella (1968), starring alongside actress Jane Fonda, Ultravox (1974-), and Spandau Ballet (1979-). As hard rock reestablished itself in Britain, with bands like the Irish U2 (1976-), Scotland’s Simple Minds (1977-), and England’s Echo and the Bunny Men (1978-), despite the US’ market’s apparent permanent preference for ‘Soft Metal’, metal music began to throw up competing genres with such horrific titles as, ‘Thrash Metal’, ‘Death Metal’, and ‘Doom Metal’, seemingly dependent on the notion that apocalyptic holocaust at high speed was what the audience wanted to musically savor; filtered through the theatrical performances of US’ bands like Slayer (1981-), Anthrax (1981-), and Megadeth (1983-):


‘Foreign life forms, inventory

Suspended state of cryogenics

Selective amnesia's the story

Believed, foretold, but who would suspect?

The military intelligence

Two words combined that can't make sense.’5



 From a literary and/or religious perspective the metal genre embraced horror and Satanism, as its ‘Black Metal’ and ‘Power Metal’ message, with US’ bands, like Marilyn Manson (1989-), a group led by Brian Hugh Warner’s alter-ego, named for the infamous nihilist ‘guru’ Charles Manson, who murdered actress Sharon Tate. A star, in her role as Jennifer North in the 1967 movie, based on Jaqueline Susann’s 1966 novel, Valley of the Dolls, about women’s addiction to ‘downers’ that is, barbiturate drugs, in the entertainment business, Tate was killed by the pseudo hippy, drug addled, psychopathic ‘death cult’ gangsters of Manson’s ‘family’ in the early hours of August 9th, 1969. Thematically, England was ‘Gothic’, that is, specific to Europe, because its torture chambers were Medieval, although Sisters of Mercy (1980-), Southern Death Cult (1981-), and Cradle of Filth (1991-), and in Finland Nightwish (1996-), shared the morbid preoccupations of their North American cousins; the grave, and the impossibility of escaping from it:


‘We don't need a bigger knife

‘Cause we got guns

We got guns, we got guns

We got guns, you better run

We're killing strangers.’6



 The rock group that really grasped the nettle, however, and ran with the concept of electricity, with Angus Young on lead guitar, was Australia’s AC/DC (1973-), which means alternating current (AC), and direct current (DC), that is, a difference in terms of how electric is supplied for domestic and industrial use, for example, studio recordings and concert performances, although it’s also a term for bisexuality in the slang of popular culture, where the choice of a sex partner isn’t determined by a preference for one gender or another, which is important, as AC/DC’s ‘Big Balls’ (1976) show, because there are more genders than male and female:


‘I've got big balls

I've got big balls

They're such big balls

And they're dirty big balls

And he's got big balls

And she's got big balls

(But we've got the biggest balls of them all).’7



 Jesus ‘Christ’, ‘the chosen’, born from his mother, the Virgin Mary, was women’s seed, a more than symbolic interpretation, because women can sexually reproduce with each other as the hermaphroditic futanarian aspect of their human nature, which is alluded to by the creator, God, in the paradise of Eden, according to the Judaic Old Testament of the Christian Bible, which is the Jews’ history and law, that is, their Torah and Talmud, ‘You shall crush the head of the serpent with your foot, but he will bruise your heel.’ (Gen: 3. 15) The woman, Eve, and the first man created by God, Adam, were told to ‘eat only of the fruit of the tree of life’, as it brought immortality, and not of ‘the tree of the fruit of the knowledge of good and evil’, which it was death to taste. However, the angel, Satan, who’d been turned into a serpent by God, for rejecting God’s plan that the human host be greater than the angelic, said ‘You shall be as gods.’ (Gen: 3. 15) Expelling Eve and Adam from Eden, God promised Eve her ‘seed’ would prevail, which is why Jesus’ mother is depicted crushing the head of the serpent with her foot in Christian iconography, as Jesus is the futanarian foot of women’s seed, whose New Testament teaching Christians view as superseding the Old Testament law of the Jews, ‘Love your neighbor as you love yourself.’ (Mk: 12. 31)



 When Jesus’ disciple, Judas, found a woman anointing him with the expensive perfume, spikenard, his spy canard was that the perfume should be sold to raise money, but Jesus demurred, ‘Leave her alone.’ (Mk: 14. 6) Judas betrayed Jesus to the Jewish religious police for ‘thirty pieces of silver’. Taken to the hill of Calvary outside the city of Jerusalem in Roman occupied Jewish Palestine, Jesus was executed for being with a woman, but he experienced Resurrection and Ascension to heaven in prefiguration of that of women’s seed, which is why he was the foot of the Virgin Mary, ‘the second Eve’, crushing the head of the serpent, as women’s brains’ power is destined to develop starship technologies, along with the immortal memory needed to maintain that computationally demanding ‘operating system’, through the medical science of rejuvenation, so to get the futa race off the ground in escaping host womb slavery in parasitism to colonize the planets amongst the stars of heaven.



 From a communist perspective, Jesus was a gang member in dispute with his consiglieri, Judas, who wanted to make perfume out of women, that is, as Jesus wouldn’t share the woman, he wasn’t adhering to the basic principles of the commune, ‘from each according to his abilities, to each according to his needs’, which interfered with the homosexuals’ harvesting of musk from the glands of women’s seed to produce scent. Peter mightn’t be a rock with a Glock; however, a few rounds later, he’d be the first Pope: head of the Christian church in Rome. The gang could then get on with selling the human race snort.

 Although AC/DC acknowledge bisexuality in their heavily anthemic music and lyrics, there’s a total absence of futanarian women’s seed rock in popular music, while sexually explicit and alluring all-women band line-ups, for example, England’s Spice Girls (1994-), the US’ Pussycat Dolls (1995-), and South Korea’s Blackpink (2016-), are so common as to be passé, suggesting a deeply ingrained chauvinism, which isn’t entirely misogynistic, but misanthropic, that is, as evinced in the lyrics to Blackpink’s ‘Kill This Love’ (2019), it’s hatred for man, or rather for what’s human:


‘We must kill this love (Yeah, yeah!)

Yeah, it's sad but true

Gotta kill this love (Yeah, yeah!)

Before it kills you too.’8



The implicit, and sometimes explicit, imagery in the music, and promotional videos of AC/DC, is electrocution, that is, brain burning in the electric chair, which is what killers convicted of premeditated murder experience if they’re executed in that way. With tracks such as, ‘Hell Ain’t A Bad Place To Be’ (1977), ‘Highway to Hell’ (1979), and ‘Hell’s Bells’ (1980), it’s evident AC/DC have some understanding of the danger posed by the fires of hell; the perdition of eternal unendurable pain meted out by God to the evil, according to Jesus’ disciple John’s apocalyptic vision of the future, Revelation, ‘Men cursed the God of heaven for their pains and their sores, but refused to repent of what they had done.’ (Rev: 16. 11)

 The variant of the simian immune deficiency virus (SIV), discovered in infected semen transmitted between homosexuals inserting their penis into each other’s anuses by communist Africa’s DR Congo in 1983, that is, the human immune deficiency virus (HIV), resulting in acquired immune deficiency syndrome (AIDS), collapse of the organs, and brain death, was the virus of hell. As scientists found it’d made humans susceptible to severe acute respiratory syndrome (SARS),9 which plague killed millions throughout the world after its December 2019 emergence in virulent form at a Wuhan city hospital, Hubei province, communist China, the symptom of flatulence was significant, because it indicated that anal penetration spreads SARS virally, that is, fierily, through flammable fart gas. When the President of the communist Russian Federation, Vladimir Putin, ordered the Red Army to invade the Ukraine, armed with the missile launched heavy flamethrower system, TOS (TOC), an initial SARS-like flammable vapor was ignited, creating a vacuum sucking all of the oxygen from the lungs fierily, so demonstrating that world events were heavily influenced by Rock ‘n’ Roll, with its underlying emphasis upon worshiping the Greek god, Thanatos, that is, death, incineration, and racial extinction, while the Ukrainians, for instance, preferred to have life, civilization, culture and art, rather than toss.

 That the carbon monoxide gas emitted from the back end exhaust of a car is poisonous is proven, whereas that the flammable fart gas virally transmits SARS to the human system, causing lung collapse and brain death, is biologically systemic. Although its HIV/AIDS precursor, transmitted through homosexuals’ infected semen during anal penetration, is thought to have weakened the human system to the extent that farting in SARS sufferers is an indirect sign of the effects of the virus of hell, new craniums burning in the Ukraine was a direct sign of fighting and the fires of hell, while the institutionalization of homosexuality in pederasty for war against women’s seed, to host womb slave the human futanarian species, was documented as public policy as long ago as its democracy in Greece was ancient.

 For armies, they’re men as long as they serve, and killed if they won’t serve, which is what faggots around a man are for. When Jesus met a man on the road to Gadarene who was possessed by demons, the man told him, ‘My name is Legion; for we are many.’ (Mk: 5. 9) At the time of the reign of the Roman Emperor, Tiberius Caesar Augustus (14-37 C.E.), the legions of Rome occupied Jewish Palestine, where Jesus, who could walk on water and resurrect the dead, was being accused of hubris, because he labored on the day of rest, that is, Saturday in Judaism, which was traditionally set aside for recuperation, as God created the world in six days, according to the book of Genesis in the Old Testament, and rested on the seventh.

 As Jesus was similar to the Jews’ leader, Moses, who parted the Red Sea for the Jews to escape pursuit by the Egyptian Pharaoh Thutmose III (1485-1431 B.C.), during their exodus from slavery in Egypt to the land God promised in Palestine, and their military leader, Joshua, whose trumpeters blew to bring down the walls of the city of Jericho, the Jews’ rejection of Jesus suggests they’d become degenerate, as he wouldn’t be a man with men serving the Empire, that is, a slave.

 Jesus drove the demons out of the man he met near Gadarene, who asked if they could inhabit a herd of pigs instead, and Jesus agreed. The pigs ran off a cliff and drowned in the sea, as that’s what armies do with humans. As war is homosexuality in pederasty for the host womb slavery of the futanarian human species of women’s seed by force, demons are faggots surrounding a man seeking to virally consume, which is why they’re the virus of hell.

 In the Middle Ages, which was a period of relative ignorance, lasting from the 5th to the 15th century, witches were burned at the stake with faggots burning fierily, while the demons, and the demon-possessed, consigned their victim to the fires of hell. However, as witches with broomsticks to ride represent women’s seed, it’s the faggots that’re for hellfire, which is the word of God to the prophet Jeremiah, as it is to Kiss’ lead singer, Gene Simmons, who breathed fire in the band’s stage act, ‘I am making my words in your mouth a fire, and this people wood, and the fire shall consume them.’ (Jer: 5. 14) God’s word isn’t a heavy flamethrower system, consuming virally as a ‘biological weapon’ directed by homosexuals, because God isn’t the ‘red dragon’ of Revelation, which is the ‘dragon tongue’ of a smoker’s cough. To the evil, humans are their coffin, whose content they cremate virally, which is what homosexuality’s AIDS/SARS is. AIDS was the telegraphed punch thrown by the Marquis de Sade in his novel, 120 Days of Sodom (c.1785), which advocacy of what was termed ‘sadism’, that is, torture for pleasure, surfaced as Sade’s, that is, AIDS, an ‘incurable killer disease’ transmitted by the evil through the anus, symptomized by the excruciating pain of brain death, fierily, because the virus of hell is what homosexuals were for:


‘Life's a trial by fire

I'm going to live my life, oh yeah

It's a trial by fire

So just roll the dice, oh yeah

And I'll take what I get.’10



 Weakened, the human system was susceptible to homosexuality’s SARS, symptomized by flatulence produced from the anus, and lung collapse. As they represent sterilization, that is, virality, homosexuals are sterile, whereas humans are virility; they create civilization, culture and art, which sterilizing pederasty seeks to annihilate fierily by virally encouraging sodomy and war, that is, they ‘go viral’ to use a term familiar to users of social media, where seemingly innocuous content suddenly becomes the focus of attention for billions; for example, a seven year old girl’s composition on guitar, recorded on video, and made available for viewing on YouTube, and other smart ‘phone accessible social media websites, throughout the world wide web (WWW) internet telecommunications’ network, ‘went viral’, after Jolee Rieffel-Dunn’s lyrical content was discovered by homosexuality:


‘I wonder what’s inside your butthole


Maybe there’s astronauts


Maybe there’s aliens


All inside your butthole


What’s inside your butthole?


I always wanna know.’11



 As a human interest story, it’s pertinent, because homosexuality has attempted to castrate the human species of futanarian women’s seed, so that it can’t see what’s up mom’s ass, whereas men’s semen does. Castrated, the human futa race is a single male brained creature, wearing each other’s clothes as a TV transvestite, so it sees only itself, which is why it’s male semen for that, while for women it’s a war against an alien that doesn’t want women for women. Homosexuality is against the law of God, whereas women aren’t homosexuals, because a woman with a penis of her own is a member of the species, while homosexuals aren’t, so vaginal and anal sexual intercourse is permissible for women’s seed, but for men it isn’t, as homosexuality amongst men is the reason women are host womb slaves to men’s parasitism producing ‘TV wars’ of human extinction.

According to biblical scholars, ‘poisoner’ is a word interchangeable with ‘witch’, ‘You shall not suffer a witch to live.’ (Ex: 22. 18) Witches are definable as men, especially homosexuals, who’re ‘boy zoners’ spreading AIDS, because they want to be boys’ owners, which is why they’re faggots, SARS, consuming the human futa race virally, that is, as the viral poisoners of its content; for example, news reports of the destructivity of war are a sign of the homosexual’s transmission of ‘the monkey virus’, where the infected doesn’t want advanced technology, which it views as threatening towards its pastoral ideal. As with Eve and Adam’s son Cain’s killing of his more able brother, Abel, in Genesis, because Abel could cook, it was more pleasing to God than Cain’s offering of fruit, who then reverted to behaving as a simian destroyer of the more technologically advanced, who’re euphemistically ‘angel tongue’, as they’re for civilization, culture and art, whereas annihilation is what homosexuals perpetrate before they’re forced to capitulate, and accept God’s perdition in the fires of hell; for transmitting the simian virus.

 Although Rock ‘n’ Roll has been accused of ‘twisted lyrics’ indicative of Satanical influences, it’s more logical to assume the workings of the virus, because of the absence of women’s seed from lyrics and promotional videos, which although the medium pretends to rebelliousness, with all-girl US’ groups, like Go Go’s (1978-), Bangles (1981-), and Vixen (1980-), and English groups, such as Girlschool (1978-) and Sugababes (1998-), it’s still men and women, as a single male brained creature, wearing each other’s clothes in TV transvestism. As homosexuality in pederasty for war against women’s seed won’t let go of the human race as its host womb slave, music, lyrics and video are a contaminated means of propaganda for the alien exterminator of the futa race, which is either heartily embraced by the evil protagonists, or unconsciously rejected and ignored by the musician, as a ‘good Samaritan’, who promotes romance and love, for example, because of its reputed efficaciousness in having people pay for the happiness in their ears.



 The correlation between the ears, and their rears, in homosexuality is that of the coffin handles. The evident boon of the 20th century was the personal stereo with ear buds, which allowed freedom of movement to the listener everywhere they went, without fear of being steered by the handles of the coffin, that is, turning the head, this way and that, or going this way, and that way, to avoid the disturbing noise emitted by other throats, with perhaps ulterior designs in their peremptory resonant assertiveness. The common praise for individuality is, ‘moving to the beat of a different drum’. However, there’s no more different beat than homosexuality to the human, which made the Japanese Sony company’s Walkman a mandatory fashion accessory, when the first personal stereo began to be mass manufactured in 1979. For homosexuals, boys are quarry, hunted like animals, and they have such a total disregard for women that it’s an absolute, which means learning through avoidance therapy, that is, tuning in to what turns on, and tuning out what doesn’t, or the ears become coughin’ handles for ‘Citizens Band’ (CB) radio meddlers, controlling the mind through the teeth’s gratings, as homosexuality virally spreads its SARS. The turning cars of the human race, going around on its spit, as the homosexuals have the last drag on its penis, before throwing the butt away; carbon monoxide’s poisonous pollution, catalytically converted as perfume behind their rears: the farters of humanity.


1 Freedman, Max C., and James E. Myers (Jimmy De Knight) ‘Rock Around The Clock’ (1952), Bill Haley and His Comets, Decca, 1954.

2 Leiber, Jerry, and Mike Stoller ‘Jailhouse Rock’, Elvis Presley, RCA Victor, 1957.

3 Page, Jimmy, and Robert Plant ‘Houses of the Holy’, Led Zeppelin, Physical Graffiti, Swan Song, 1975.

4 Byford, Biff, Steve Dawson, Pete Gill, Graham Oliver, and Paul Quinn, ‘747 (Strangers in the Night)’, Saxon, Wheels of Steel, Capitol, 1980.

5 Mustaine, Dave ‘Hangar 18’, Megadeth, Rust In Peace, Capitol, 1990.

6 Bates, Tyler, and Marilyn Manson ‘Killing Strangers’, Marilyn Manson, The Pale Emperor, Hell, etc., 2015.

7 Vanda, Harry, and George Young ‘Big Balls’, AC/DC, Dirty Deeds Done Cheap, Albert, 1976.

8 Johnson, Rebecca Rose (Bekuh Boom), and ‘Teddy’ Park ‘Kill This Love’, Blackpink, Digital and Pink, YG, 2019.

9 Healy, Melissa ‘Did failure to adequately treat HIV patients give rise to the Omicron variant?’, Los Angeles Times , December 2nd, 2021, 4 am Pacific Time (PT).

10 Kulick, Bruce, and Gene Simmons ‘Trial By Fire’, Kiss, Asylum, Mercury, 1985.

11 Chen, Tanya ‘An 8-Year-Old Wrote An Original Song Called "I Wonder What's Inside Your Butthole" And It's A Quarantine Smash’, May 4th, 2020, 12. 42 am, .




* On September 11th, 2001, Moslem extremist terrorists, the Al Qaeda, ‘base’, group, operating under the auspices of the notoriously misogynist Islamic Taliban regime of Afghanistan, and led by Saudi Arabian heir to a civil engineering business, Osama Ben Laden, hijacked civil airliners to crash into the Twin Towers of the World Trade Center, Manhattan island, New York city, New York state. A further airliner was crashed into the Defense Department building, the Pentagon, Arlington, Virginia state, while a fourth plane was brought down in a field at Stoneycreek Township, near Shanksville, Pennsylvania state, by irate passengers, who’d wrested control of the aircraft, apparently on its way to Washington, D.C., where the then President of the United States of America, George W. Bush Jnr, had his official White House residence, away from the terrorists, but were unable to pilot it.