Richard Spencer and his guest debate music's nature, contrasting rap's African roots with Mozart's alleged Christian theology, which the guest refutes by citing sonata form. They dismiss the 1939 Rothschild-Rockefeller pitch shift conspiracy as absurd mysticism while clashing over rap's racial origins and Jewish producers' roles. The segment concludes by highlighting anti-Semitic tensions when Spencer accuses his guest of labeling music "Jewish" without acknowledging the Bible's Jewish heritage, exposing deep ideological fractures regarding culture and history. [Automatically generated summary]
Transcriber: CohereLabs/cohere-transcribe-03-2026, WAV2VEC2_ASR_BASE_960H, sat-12l-sm, script v26.04.01, and large-v3-turbo
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Rap vs Sacred Music00:11:36
I feel as though rap as a form of music, take the lyrics aside, the substance aside, the music itself.
Maybe not inherently evil.
I don't know if I would be quite as far.
By design.
But the music itself is to say that, like, here's Mozart or Handel's Messiah.
Right.
And here's rap.
But the lyrics are Christian now.
I changed the lyrics.
It's not just about the lyrics, it's about the music itself.
So.
Okay.
Let me just explain what is going on here.
So.
In the spectrum between African drumming and pure melodious Wagnerian endless melody, it's a spectrum.
And rap is like right here.
Basically, there is what we, there's a spectrum between rhythm and melody, let's say.
And over here, you have what we would, I think, correctly call primitive music, where it is pure rhythm.
And there isn't even really a tone.
Now, there is often some sort of tone, but it's just beating and maybe like, oh, hey, oh, hey, oh, hey.
So there's some melody of some sort, but even the melody is just a rhythm.
That's over here on this side of the spectrum.
And then you have like Tristan und Isolde, where rhythm in a way has been overcome and it is just unending melody.
There is rhythm in there, but you don't certainly don't hear it.
And, you know, it's.
And you're just like climbing and moving, but it never reaches a culmination.
And maybe right in here in the middle, you have like rock and roll or Giuseppe Verdi or something where there is a tremendous amount of rhythm, but there's also just beautiful melody or rock, like catchy melody or energetic melody.
And it's sort of combined into something.
Rap is again closer to Africans beating on drums because they have, there is no melody in effect.
There might be something like a little hitch, a little, what is it?
What do they call it?
A clip or a whatever.
There's some word for it.
But it's like a hook.
Yes, there's some hook.
Right.
So it's like burning, burning, and it's like, it's just, It's just rhythm.
Now, is there something interesting about rap of the rhymes and speaking that fast or that lazily in some cases?
Perhaps, but that's what's going on.
It's not even necessarily more degenerate.
You know, it's like Africans are over here, Italians are right in the middle, and then Germans are over here.
From like rhythm to autism or pure melody.
And that's why Verity is so great because there's a little bit of that African dance music in Verity.
There's a lot of literally dance music in Verity.
If Verity were a composer today, he might integrate like techno rhythm and beats into his music dramas.
There's no doubt about it, he would if he were alive today.
So it's like Verity is in touch with a little bit of the primitive, the rhythm that makes you move, but he's also very much in touch with melody.
Unquestionably, he has beautiful melodies.
And even later in his career with like Othello, and you know, except there's a little bit of Wagner going on with some of these melodies that he's pursuing and love themes.
So that's what's happening.
I don't know what to tell you.
It's not like it's degenerate, any more degenerate.
Like, I could even, I mean, Nietzsche's criticism of Wagner is that he's degenerate, in effect, decadent.
And he's right.
But it's not like some scheme to make us more sexual or something.
There's always something sexual and rhythmic in music.
And Wagner, in some moods, not in Tristan, but in some moods, actually captures that.
He is the man, he captures that, I should say.
He is the man that wrote the Rite of the Valkyries, after all, which is very rhythmic and infectious.
The Mozart's music was shaped around the mass, it was shaped around the Christian theology and the worship of God.
No, it was not.
It was not.
That's just absurd.
The thing that shaped what we call classical music of the 18th or early to mid 19th century is sonata form.
And it's you introduce a theme, like, and then you'll introduce a secondary theme, often in a different key.
And then you'll develop on these themes, and then it all comes back with both themes played in the same key.
That's sonata form.
There are basically aria forms that are very often AAB.
They don't take the form of rock music, which is verse, chorus, verse, chorus, bridge, chorus, usually.
That's an interesting form.
They'll often have a long melodic line, another long melodic line.
They might go somewhere the next time.
You know, Verity wrote at least through his middle period with, you know, aria cabaletta.
So you have a slow, sort of thoughtful, beautifully melodic number, and then the cabaletta where it's fast and, you know, di quella pira, like, and you sing a high note at the end and everyone's jumping to their feet to applaud and so on.
Um, music is conventional and it's based on these conventions, it's not based on the mass.
I mean, not Wagner, Mozart was bringing like advanced music to sacred music.
But I actually looked it up through evil AI and learned that nine to ten percent of Mozart's music were liturgical in nature.
So, this notion that It's coming from the church is just wrong.
Now, you could make that argument with Bach, but they don't make that argument.
So, I'm not going to try to help out their bad argument.
But Mozart was traveling around Europe.
He spent three fourths of his life moving, and he was traveling around Europe playing for various sovereigns.
He was remarkably secular.
He wrote an opera about Don Giovanni, he wrote an opera about Cosifantute.
All women are like that.
He also wrote an amazing mass.
He was also, by the way, Calvin, my, you know, Catholic based Catholic guy with an afro.
He also was a Freemason, by the way, and he literally wrote an opera about Freemasonry, which is called The Magic Flute.
Pro Freemasonry, by the way.
It wasn't a based Alex Jones opera in which the people triumph over the evils of Freemasonry.
It was about the wonders of Freemasonry.
So maybe you guys don't know anything about music.
I don't know.
Kind of sounds like it.
You're choosing quite possibly the worst example imaginable to make your point.
Rap music was centered around rebellion against society and it was sexuality, violence, but it's deeper than just the words or the beats, it's the frequencies.
Okay.
This is where he loses me.
Now, you could definitely say that rock music, because of the rhythm, the drums, that it was about sexuality and sexuality can be.
Rebellious or destabilizing.
I would agree totally with that.
I mean, we now listen to Elvis and it's like quaint or wholesome.
And I like Elvis, but that was radical in the 50s, like him shaking his hips.
The CBS News would only broadcast him above the waist because he was just making people feel a little too excited down there with those hips shaking of Elvis.
It's sexual.
Precisely because it's more rhythmic.
And again, this goes back to the scale of like rhythm to melody.
Where do you fall on this scale?
Rock is closer to the primitive drumming that is all about the heartbeat, raising the heartbeat by drumming, making you move through the rhythm.
Rock is more like that.
So it's more sexual and less rebellious.
But now he goes into frequency.
In 1939, the Rothschilds and the Rockefellers came together, got some scientists and some musicians together, and said, let's shift the frequency of A. From was it 440 hertz to 453 hertz?
Look it up, and essentially, they want the masses to be enraged, to be ready for war.
They don't want the masses to be peaceful and seeking God.
That's so good.
I like that.
So, what you're telling me is it's not just the lyrics, but rap, the music itself is Jewish.
Yes, I love it.
I feel okay.
I mean, look, I'm sure that there are Jewish producers of rap that have been indispensable in promoting rap, but like.
I don't know, buddy.
Like, rap is kind of black.
I mean, I don't know.
Call me crazy here, but it seems like rap is black, actually.
I don't know.
I know nothing about rap.
Perhaps I need to learn more about the history of rap, but kind of seems black.
That's my impression as an outsider that black people listen to rap music and perform rap music.
I don't.
It's about the African American experience.
I don't know.
I mean, call me naive, but.
I think we might want to blame rap on the blacks if you don't like it.
I mean, give me a fucking break.
And look, I get it.
What they're probably saying is like producers are doing this.
And I get that actually.
But let's also not pretend that black people are innocent here if rap is the enemy.
Like, let's not pretend that they didn't do it and that it doesn't appeal to them and that it doesn't express some.
Inner nature of the black through rap music.
I mean, come on.
Blaming Black People for Hate00:05:34
Now, the A440 thing.
So, I actually hadn't learned about this, but I reminded myself about this.
So, okay, A440, you always know.
So, whenever you go to a symphony concert or an opera or a musical or whatever, you know, they tune on A, like, and then everyone starts tuning, and then you're on one tonic note.
It's A.
It's 440, 400 hertz, 440 hertz.
That is 400 vibrations per minute.
So, if you had a string, just to imagine, you pluck the string and it's vibrating at 440 per minute.
It's a convention.
It's basically a way of maintaining uniformity internationally.
So, I mean, it would be different.
Like, if you're tuning at A440, the high C and DQL Epira can be performed by certain tenors.
Now, if you're tuning at A480, it's a higher pitch.
You just literally can't sing that high.
And so, you want to kind of maintain uniformity.
Now, what I've also heard, and someone's done research on this, where They found a tuning fork for A in like a harpsichord maker who made harpsichords for Mozart or something.
And it was like 420 or 430.
So 432.
Okay, there it is.
So it was slightly different.
Now, does this matter?
Yes, it's different.
I get it.
But all keys are relative and all tones are either flat or sharp relative to the tonic.
So, like, it just doesn't matter.
You know, maybe A440 is a good one, but maybe it's just sort of arbitrary.
It would be like saying, like, how much water is in this?
Is it eight ounces or is it a cup?
It's like, it's the same thing.
You're just using different words, or maybe that's not the best analogy, but it's just, it's all relative.
So, a key, like, the 12 tone scale.
Is based on that A, and we've you can't even in a piano, like you see the white keys and the black keys, it's not even like perfect intervals.
We've sort of like fudged it slightly to get that well tempered clavier where you can play all the notes, but it just does not matter.
Like, Mary Had a Little Lamb sounds the same if you're singing in the key of D or the key of E or the key of F, it's the same melody.
I don't know.
I presume people who understand music theory totally get what I'm saying.
I'm trying to explain it on some elemental level just in case you don't know music.
You know, it's Mary had a little lamb Mary, had a little lamb Mary, had a little lamb Mary, had a little lamb Mary.
They all sound the same.
It's the same tune because the ratio between the intervals is the same.
It doesn't matter where you start or where you're going to end on the tonic.
So this is bullshit.
This is ridiculous bullshit.
And the tone A440 only matters to the extent that the human voice is involved in production.
So, and of course, strings as well and the brass.
Like, there's, you can only go so high in a violin.
The human being can only sing so high.
So, you have to have a sort of standardization of the note, of the central note.
So that we're sort of all on the same playing field, so to speak.
You know, it's like saying, look, doesn't matter if the football field is 99 yards or 101 yards, it doesn't really matter.
But we're just saying it's 100 yards so that you can play football anywhere and you, you, it's standardized.
That's the point of standardization.
This is bullshit.
But apparently, on TikTok, people think that there's some like frequency, like there's a frequency for your chokra, or like this, like 538 is like either evil or relaxing or something.
This is just ridiculous.
You're hearing frequencies all over the place.
Uh, it's just tick tock like mysticism that he's engaging in now.
Might it be the case that at some point they raised a like four hertz or eight hertz so that in some ways, like it was a little bit higher pitched?
Like, all things, I mean, you're just transposing music a little bit higher so that it like jumped out at you or something, okay?
But like, this guy imagines the plot from uh, what is that movie, The Kingsman, the first.
Kingsman, where there's like a frequency that makes you go insane, like you just hit the frequency, and then like the uh, all those Westboro Baptist churchgoers just start brutally murdering each other or something.
This is just absurd, this is all absurd.
Absurd Frequency Theories00:00:31
And Afro Catholic man does not know what he's talking about, and yet he's lecturing on like saving Western civilization.
I mean, give me a fucking break.
Mad Max?
Yeah, the irony of anti Semitism is the word about the music and saying the music is Jewish, but not at all concerned about the Jewish scriptures.