RadixJournal - Richard Spencer - What's the Frequency, Kenneth?
Aired: 2026-05-02
Duration: 17:42


=== Rap vs Sacred Music (11:36) ===

[00:00:00]  I feel as though rap as a form of music, take the lyrics aside, the substance aside, the music itself.
[00:00:09]  Maybe not inherently evil.
[00:00:10]  I don't know if I would be quite as far.
[00:00:12]  By design.
[00:00:12]  But the music itself is to say that, like, here's Mozart or Handel's Messiah.
[00:00:19]  Right.
[00:00:20]  And here's rap.
[00:00:22]  But the lyrics are Christian now.
[00:00:23]  I changed the lyrics.
[00:00:23]  It's not just about the lyrics, it's about the music itself.
[00:00:25]  So.
[00:00:27]  Okay.
[00:00:28]  Let me just explain what is going on here.
[00:00:31]  So.
[00:00:34]  In the spectrum between African drumming and pure melodious Wagnerian endless melody, it's a spectrum.
[00:00:47]  And rap is like right here.
[00:00:50]  Basically, there is what we, there's a spectrum between rhythm and melody, let's say.
[00:00:56]  And over here, you have what we would, I think, correctly call primitive music, where it is pure rhythm.
[00:01:06]  And there isn't even really a tone.
[00:01:08]  Now, there is often some sort of tone, but it's just beating and maybe like, oh, hey, oh, hey, oh, hey.
[00:01:17]  So there's some melody of some sort, but even the melody is just a rhythm.
[00:01:21]  That's over here on this side of the spectrum.
[00:01:24]  And then you have like Tristan und Isolde, where rhythm in a way has been overcome and it is just unending melody.
[00:01:37]  There is rhythm in there, but you don't certainly don't hear it.
[00:01:40]  And, you know, it's.
[00:01:48]  And you're just like climbing and moving, but it never reaches a culmination.
[00:01:52]  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.
[00:02:10]  And it's sort of combined into something.
[00:02:13]  Rap is again closer to Africans beating on drums because they have, there is no melody in effect.
[00:02:21]  There might be something like a little hitch, a little, what is it?
[00:02:26]  What do they call it?
[00:02:27]  A clip or a whatever.
[00:02:31]  There's some word for it.
[00:02:33]  But it's like a hook.
[00:02:35]  Yes, there's some hook.
[00:02:36]  Right.
[00:02:37]  So it's like burning, burning, and it's like, it's just, It's just rhythm.
[00:02:50]  Now, is there something interesting about rap of the rhymes and speaking that fast or that lazily in some cases?
[00:02:58]  Perhaps, but that's what's going on.
[00:03:02]  It's not even necessarily more degenerate.
[00:03:06]  You know, it's like Africans are over here, Italians are right in the middle, and then Germans are over here.
[00:03:14]  From like rhythm to autism or pure melody.
[00:03:19]  And that's why Verity is so great because there's a little bit of that African dance music in Verity.
[00:03:28]  There's a lot of literally dance music in Verity.
[00:03:31]  If Verity were a composer today, he might integrate like techno rhythm and beats into his music dramas.
[00:03:39]  There's no doubt about it, he would if he were alive today.
[00:03:41]  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.
[00:03:52]  Unquestionably, he has beautiful melodies.
[00:03:54]  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.
[00:04:05]  So that's what's happening.
[00:04:09]  I don't know what to tell you.
[00:04:10]  It's not like it's degenerate, any more degenerate.
[00:04:13]  Like, I could even, I mean, Nietzsche's criticism of Wagner is that he's degenerate, in effect, decadent.
[00:04:20]  And he's right.
[00:04:24]  But it's not like some scheme to make us more sexual or something.
[00:04:29]  There's always something sexual and rhythmic in music.
[00:04:33]  And Wagner, in some moods, not in Tristan, but in some moods, actually captures that.
[00:04:38]  He is the man, he captures that, I should say.
[00:04:41]  He is the man that wrote the Rite of the Valkyries, after all, which is very rhythmic and infectious.
[00:04:50]  The Mozart's music was shaped around the mass, it was shaped around the Christian theology and the worship of God.
[00:04:56]  No, it was not.
[00:04:59]  It was not.
[00:05:00]  That's just absurd.
[00:05:04]  The thing that shaped what we call classical music of the 18th or early to mid 19th century is sonata form.
[00:05:16]  And it's you introduce a theme, like, and then you'll introduce a secondary theme, often in a different key.
[00:05:30]  And then you'll develop on these themes, and then it all comes back with both themes played in the same key.
[00:05:42]  That's sonata form.
[00:05:44]  There are basically aria forms that are very often AAB.
[00:05:53]  They don't take the form of rock music, which is verse, chorus, verse, chorus, bridge, chorus, usually.
[00:06:02]  That's an interesting form.
[00:06:04]  They'll often have a long melodic line, another long melodic line.
[00:06:08]  They might go somewhere the next time.
[00:06:13]  You know, Verity wrote at least through his middle period with, you know, aria cabaletta.
[00:06:17]  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.
[00:06:35]  Um, music is conventional and it's based on these conventions, it's not based on the mass.
[00:06:43]  I mean, not Wagner, Mozart was bringing like advanced music to sacred music.
[00:06:51]  But I actually looked it up through evil AI and learned that nine to ten percent of Mozart's music were liturgical in nature.
[00:07:04]  So, this notion that It's coming from the church is just wrong.
[00:07:08]  Now, you could make that argument with Bach, but they don't make that argument.
[00:07:13]  So, I'm not going to try to help out their bad argument.
[00:07:17]  But Mozart was traveling around Europe.
[00:07:20]  He spent three fourths of his life moving, and he was traveling around Europe playing for various sovereigns.
[00:07:29]  He was remarkably secular.
[00:07:30]  He wrote an opera about Don Giovanni, he wrote an opera about Cosifantute.
[00:07:36]  All women are like that.
[00:07:38]  He also wrote an amazing mass.
[00:07:42]  He was also, by the way, Calvin, my, you know, Catholic based Catholic guy with an afro.
[00:07:52]  He also was a Freemason, by the way, and he literally wrote an opera about Freemasonry, which is called The Magic Flute.
[00:08:03]  Pro Freemasonry, by the way.
[00:08:05]  It wasn't a based Alex Jones opera in which the people triumph over the evils of Freemasonry.
[00:08:12]  It was about the wonders of Freemasonry.
[00:08:16]  So maybe you guys don't know anything about music.
[00:08:20]  I don't know.
[00:08:22]  Kind of sounds like it.
[00:08:24]  You're choosing quite possibly the worst example imaginable to make your point.
[00:08:32]  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.
[00:08:42]  Okay.
[00:08:43]  This is where he loses me.
[00:08:44]  Now, you could definitely say that rock music, because of the rhythm, the drums, that it was about sexuality and sexuality can be.
[00:08:55]  Rebellious or destabilizing.
[00:08:57]  I would agree totally with that.
[00:08:58]  I mean, we now listen to Elvis and it's like quaint or wholesome.
[00:09:04]  And I like Elvis, but that was radical in the 50s, like him shaking his hips.
[00:09:09]  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.
[00:09:24]  It's sexual.
[00:09:25]  Precisely because it's more rhythmic.
[00:09:27]  And again, this goes back to the scale of like rhythm to melody.
[00:09:31]  Where do you fall on this scale?
[00:09:33]  Rock is closer to the primitive drumming that is all about the heartbeat, raising the heartbeat by drumming, making you move through the rhythm.
[00:09:41]  Rock is more like that.
[00:09:43]  So it's more sexual and less rebellious.
[00:09:46]  But now he goes into frequency.
[00:09:48]  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?
[00:09:58]  Look it up, and essentially, they want the masses to be enraged, to be ready for war.
[00:10:03]  They don't want the masses to be peaceful and seeking God.
[00:10:06]  That's so good.
[00:10:08]  I like that.
[00:10:10]  So, what you're telling me is it's not just the lyrics, but rap, the music itself is Jewish.
[00:10:15]  Yes, I love it.
[00:10:17]  I feel okay.
[00:10:18]  I mean, look, I'm sure that there are Jewish producers of rap that have been indispensable in promoting rap, but like.
[00:10:28]  I don't know, buddy.
[00:10:29]  Like, rap is kind of black.
[00:10:31]  I mean, I don't know.
[00:10:32]  Call me crazy here, but it seems like rap is black, actually.
[00:10:38]  I don't know.
[00:10:40]  I know nothing about rap.
[00:10:41]  Perhaps I need to learn more about the history of rap, but kind of seems black.
[00:10:46]  That's my impression as an outsider that black people listen to rap music and perform rap music.
[00:10:53]  I don't.
[00:10:53]  It's about the African American experience.
[00:10:55]  I don't know.
[00:10:56]  I mean, call me naive, but.
[00:10:59]  I think we might want to blame rap on the blacks if you don't like it.
[00:11:05]  I mean, give me a fucking break.
[00:11:07]  And look, I get it.
[00:11:09]  What they're probably saying is like producers are doing this.
[00:11:13]  And I get that actually.
[00:11:14]  But let's also not pretend that black people are innocent here if rap is the enemy.
[00:11:22]  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.
[00:11:31]  Inner nature of the black through rap music.
[00:11:34]  I mean, come on.

=== Blaming Black People for Hate (05:34) ===

[00:11:37]  Now, the A440 thing.
[00:11:39]  So, I actually hadn't learned about this, but I reminded myself about this.
[00:11:44]  So, okay, A440, you always know.
[00:11:48]  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.
[00:12:00]  It's A.
[00:12:01]  It's 440, 400 hertz, 440 hertz.
[00:12:05]  That is 400 vibrations per minute.
[00:12:08]  So, if you had a string, just to imagine, you pluck the string and it's vibrating at 440 per minute.
[00:12:16]  It's a convention.
[00:12:19]  It's basically a way of maintaining uniformity internationally.
[00:12:25]  So, I mean, it would be different.
[00:12:27]  Like, if you're tuning at A440, the high C and DQL Epira can be performed by certain tenors.
[00:12:38]  Now, if you're tuning at A480, it's a higher pitch.
[00:12:42]  You just literally can't sing that high.
[00:12:46]  And so, you want to kind of maintain uniformity.
[00:12:49]  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.
[00:13:00]  And it was like 420 or 430.
[00:13:03]  So 432.
[00:13:05]  Okay, there it is.
[00:13:06]  So it was slightly different.
[00:13:09]  Now, does this matter?
[00:13:11]  Yes, it's different.
[00:13:14]  I get it.
[00:13:15]  But all keys are relative and all tones are either flat or sharp relative to the tonic.
[00:13:26]  So, like, it just doesn't matter.
[00:13:29]  You know, maybe A440 is a good one, but maybe it's just sort of arbitrary.
[00:13:36]  It would be like saying, like, how much water is in this?
[00:13:41]  Is it eight ounces or is it a cup?
[00:13:43]  It's like, it's the same thing.
[00:13:46]  You're just using different words, or maybe that's not the best analogy, but it's just, it's all relative.
[00:13:52]  So, a key, like, the 12 tone scale.
[00:13:57]  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.
[00:14:06]  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.
[00:14:18]  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.
[00:14:28]  I don't know.
[00:14:29]  I presume people who understand music theory totally get what I'm saying.
[00:14:34]  I'm trying to explain it on some elemental level just in case you don't know music.
[00:14:40]  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.
[00:14:47]  They all sound the same.
[00:14:48]  It's the same tune because the ratio between the intervals is the same.
[00:14:53]  It doesn't matter where you start or where you're going to end on the tonic.
[00:14:58]  So this is bullshit.
[00:15:02]  This is ridiculous bullshit.
[00:15:05]  And the tone A440 only matters to the extent that the human voice is involved in production.
[00:15:14]  So, and of course, strings as well and the brass.
[00:15:18]  Like, there's, you can only go so high in a violin.
[00:15:23]  The human being can only sing so high.
[00:15:26]  So, you have to have a sort of standardization of the note, of the central note.
[00:15:32]  So that we're sort of all on the same playing field, so to speak.
[00:15:36]  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.
[00:15:44]  But we're just saying it's 100 yards so that you can play football anywhere and you, you, it's standardized.
[00:15:52]  That's the point of standardization.
[00:15:55]  This is bullshit.
[00:15:56]  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.
[00:16:11]  This is just ridiculous.
[00:16:14]  You're hearing frequencies all over the place.
[00:16:18]  Uh, it's just tick tock like mysticism that he's engaging in now.
[00:16:25]  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?
[00:16:37]  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?
[00:16:44]  But like, this guy imagines the plot from uh, what is that movie, The Kingsman, the first.
[00:16:50]  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.
[00:17:03]  This is just absurd, this is all absurd.

=== Absurd Frequency Theories (00:31) ===

[00:17:11]  And Afro Catholic man does not know what he's talking about, and yet he's lecturing on like saving Western civilization.
[00:17:19]  I mean, give me a fucking break.
[00:17:25]  Mad Max?
[00:17:28]  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.
[00:17:37]  Yes.
[00:17:38]  By the way, the Bible's Jewish.
[00:17:39]  Like, are you saying that the Bible is Jewish?
[00:17:42]  Yes.