Pleasantville (1998), Tobias + Tobias, 440 Hz, Leonard Horowitz, Rockefeller Foundation, Harold Burris-Meyer, psychological warfare, entrainment, SIGINT, radio-eugenics, weaponization of music/frequency/light/electromagnetic spectrum/, color programming

Musical Cult Control: The Rockefeller Foundation’s War on Consciousness Through the Imposition of A=440 hz Standard Tuning

By Dr. Leonard Horowitz, 14 pages


I am currently watching the 1998 film, Pleasantville.

Following is a screenshot (around the 24 minute timestamp):

So, we see Toby Maguire (real name Tobias Tobey Maguire - Biography - IMDb) starring in the film. He is sent into the television — back to April 1958 (40 years prior to the release of the film) in a time/space that was all black&white. No color. Slowly, color is introduced into their reality. {See Elizabeth Burris-Meyer below.} Above we see him holding the basketball (a SPHERE). It says “440” and it is upside down (as in an inversion). His hands are on the sides, evocative of holding the world in his hands.

What I did not recall about this popular story that was elucidated years ago by Horowitz, though, is that it was James Tobias who purportedly uncovered this (my emphasis in bold):

Academically directed by grants provided by the Rockefeller Foundation, in concert with the U.S. Navy and National Defense Research Council according to the foundation’s archives, acoustic energy researchers, including Harold Burris-Meyer, an audio engineer and drama instructor at New Jersey’s Stevens Institute of Technology, were commissioned.

Burris-Meyer is best known for providing consulting services to the Muzak Corporation,
“which used his expertise to optimize sound installations in factories so that emotional motivation of workers achieved through music would not be adversely effected by factory noise…,”
…wrote James Tobias, a Professor of English at the Univ. of Calif.

Tobias reviewed Rockefeller Foundation (RF) archives, and documented investigations leading to psychological warfare applications of acoustic vibrations, ultimately advanced militarily and commercially.

Burris-Meyer, according to Tobias, contributed to the Department of Defense during World War II,
“including building speaker arrays deployed on warplanes such that enemy combatants could be addressed from the air” to produce psycho-emotional affects leading to “mass hysteria.”

Additionally, the Princeton Radio Project played a role in this research.

This occurred precisely at the time the atomic bomb Manhattan Project was beginning at Princeton involving Albert Einstein at the Institute for Advanced Study (IAS).

Horowitz elaborated about Tobias:

Raising more suspicion, when I personally contacted Professor Tobias to request his consent to link his online paper (Composing for the Media – Eisler and the Rockefeller Foundation Music Projects) to this article, to pull quotes of up to 600 words from it, or receive a submission from him for publication in Medical Veritas journal, he declined saying he did not wish to jeopardize future publication of his work.

However, a simple Internet search located his manuscript already published by the Rockefeller Archive Center with the following ethically repugnant notice:
“This research report is presented here with the author’s permission but should not be cited or quoted without the author’s consent…

“Rockefeller Archive Center Research Reports Online is a periodic publication of the Rockefeller Archive Center… intended to foster the network of scholarship in the history of philanthropy and to highlight the diverse range of materials and subjects covered in the collections at the Rockefeller Archive Center.

The reports are drawn from essays submitted by researchers who have visited the Archive Center, many of whom have received grants from the Archive Center to support their research.

The ideas and opinions expressed in this report are those of the author and are not intended to represent the Rockefeller Archive Center.”
Frankly, under “fair use” copyright laws, Dr. Tobias, and the Rockefeller Archive Center, has zero right to prohibit his Internet published work, to be withheld from public scrutiny and scholarly commentary, particularly as it involves matters of widespread psychosocial pathology, public health, and national security, not simply “the history of philanthropy.”

For the record, Dr. Tobias neglected to reply to my invitation to prepare a Medical Veritas submission, or consent to be interviewed by me on this topic.

Bioenergetic Music for “Mass Hysteria”

Tobias’s manuscript makes it clear that he was alarmed at his discovery that bioenergetic research in acoustic science focused on producing the social impacts of emotional arousal and even “mass hysteria.”

This research included,
“investigations in ‘physical analysis’ of sound effects, …an established technique which others may use in practice dependably…,” the determination of measures by which audience reactions could be accessed, “even without any technical capacity for psychological measurement of audience response,” and the use of sound effects that “produced what was really mass hysteria.”

Tobias noted the Foundation-funded investigations extended to,
“‘average tolerance of sound effects of different intensities and of different frequencies,’ or… the effectiveness of sound in relation to different noise levels… (Page 66).

“[T]he clear interest here seems to be in the ‘dramatic’ use emphasized in… bringing audiences, with the use of the ‘sensory appeal’ of sound effects, to states of ‘mass hysteria’.”

Employment History: (my emphasis)

  • Faculty, Washington and Jefferson College (1927-1929)
  • Faculty and Head of Theatre, Stevens Institute of Technology, Hoboken NJ (1929-1954)
  • Sound Designer and/or Consultant on 13 Broadway productions, 7 Metropolitan Opera productions and 3 Federal Theatre Project “Living Newspaper” productions (1929-1954)
  • Directed the first Stereophonic recordings for the Bell Telephone Laboratories (1941)
  • Consultant and later Vice President for the Muzak Corporation (1939-1947)
  • Member of the War Department Planning Board, serving in the U.S. Navy during WWII with the rank of Commander (1943-1946). He continued to serve as a reserve officer and consultant with the Defense Department through both the Korean and Viet Nam conflicts until his military retirement.
  • Vice President and Director of Magnetic Programs, Inc. (1948-1957)
  • Theatre Consultant on numerous building projects throughout his career, most notably the Lynchburg Fine Arts Center, the University of Connecticut, Howard University, Sweet Briar College, Temple University, the Paper Mill Playhouse, and the Atlanta Cultural Center and the theatre complex at Florida Atlantic University
  • Professor and Director of Theatre, Florida Atlantic University (1965-1972)

He also boldly collaborated with civil rights activist and actor Paul Robeson to create Synthea, an “acoustic envelope” that powerfully transformed theatrical staging at the time — and continues to influence concert acoustics today.

Robeson said he had begun to feel as if he’d “lost his own self” in the large, echoing auditoriums he’d been performing in during the late 1930s. So he and Burris-Meyer developed a new device allowing a singer to hear himself or herself onstage, as though “singing in the shower.” Over time, Synthea and the “Robeson Technique” strongly influenced theatrical engineering and the creation of the monitor speaker systems still used in contemporary staging.

Burris-Meyer later founded Control, Inc., an acoustical engineering research and design firm, and served as effects designer for 13 Broadway shows and seven Metropolitan Operas between 1929 and 1954. (my emphasis)

Elizabeth Burris-Meyer (consulting colorist) - any relation to Harold Burris-Meyer?

New York. William Helburn, Inc. 1947. First edition.

A post-War American colour sample book, published with the intention to brighten up life after the grey austerity of the Depression and War years. Burris-Meyer advocates a methodical approach to colour planning, with a clear aim to achieve a certain purpose, such as raising spirits, bringing rest and relaxation, or encouraging creativity. Each plate displays 7 different colours, mostly matte but some gloss, intended to be used together in a certain location. The 30 plates include schemes for a Recreation Room in a Factory, Bar and Card Room Off a Living Room, Library and Study, Powder Room, Doctor’s Waiting Room and Theatre Lounge. There are a notable number of locations specific to women including a Woman Executive’s Study, Lounge in Women’s Club and a Bedroom that is a Hobby Room too. The samples are accompanied by text listing which colour should be used for which element. The colours reference the Munsell system of colour notation. (my emphasis)

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Not sure if this is connected, but @leo when looking into Alan Gregg and the AEC biology committee, I was rather shocked to find out that not only was he the Rockefeller Foundation representative, but that he was the lead on advancing psychiatry in US medical schools. Does make me wonder about radiation and consciousness.

In the 1930s, Gregg’s Medical Sciences Division supported the creation or expansion of psychiatry departments in major U.S. medical schools and in several British hospitals. He also arranged the long-term support he favored for a few select projects, including the creation of the McGill Neurological Institute in Montreal under Wilder Penfield.

He saw this development firsthand, as he was invited to advise numerous government and private groups that hoped to tap these federal resources, which overshadowed those of the Rockefeller Foundation. Among the areas addressed by those boards or committees were the Atomic Energy Commission, medical education, socialized medicine, and the National Library of Medicine. Although Gregg knew that such groups also hoped he could help them tap the Rockefeller Foundation’s resources, he agreed to participate when there was an important current or future issue about which he had expertise or wanted to learn. Gregg’s method was usually to mobilize resources of both the private and government sector, and grant seed money for studies where necessary. An exception proving this rule was Rockefeller’s support of sex research–notably that of Alfred Kinsey–where Gregg was willing to go it alone. Although funding went through the National Research Council, it was clear to all parties that the Rockefeller Foundation had to approve the funds for Kinsey’s studies of human sexuality. In fact, Gregg visited Kinsey in Indiana and wrote the preface to his blockbuster bestseller, Sexuality in the Human Male ; these actions demonstrated the extent to which Gregg was willing to acknowledge and defend the foundation’s role in this controversial research. Postwar Work and Retirement, 1945-1956 | Alan Gregg - Profiles in Science

Gregg’s “swan song” as the director of the Medical Sciences Division was a trip to India and Southeast Asia at the end of 1951. His detailed report of this visit, which addressed the future of medicine outside Europe and the Americas, echoed his early surveys of medical education.


Harold Burris-Meyer - Consultant and later Vice President for the Muzak Corporation (1939-1947)

Few people associate his name with the birth and ubiquitous presence of “elevator music,” but despite his anonymity George Owen Squier left an indelible imprint on American society. A graduate of West Point in 1887, Squier rose to the rank of a two-star general in the U.S. Army during his 36-year military career, but scored his greatest success as an inventor, establishing himself as a pioneer in the history of science in the United States. As a young artilleryman, Squier made a significant contribution to the development of high-speed telegraphy when he invented the polarizing photochronograph, an instrument capable of measuring the speed of a projectile. Charged with determining the military potential in the experiments of the Wright brothers, Squier became the first airplane passenger in the world when he hopped aboard a Wright-constructed aircraft for a nine-minute flight in 1908. Squier’s legacy to the world, however, was something capable of sparking far more tumult than a historic airplane flight or a groundbreaking high-speed measuring device could arouse. His lasting contribution was once characterized as “metastisizing,” described by novelist Vladimir Nabokov as “abominably offensive,” and referred to in Smithsonian magazine as “a stupefyingly bland, toxically pervasive form of unregulated air pollution, about as calming as the drone of a garbage compactor.” Squier’s gift to the world was Muzak, a commercial product that irritated some, soothed others, and reigned for generations as a household name.

Roughly a decade after his pioneering flight, Squier was tapped as the head of the U.S. Signal Corps, a promotion concurrent with the United States’ entry into World War I. While superintending the Signal Corps, Squier developed a way to play a phonograph over electric power lines that served as the technological foundation for Muzak. Squier patented the invention in 1922 and later in the year sold the patent to a massive utilities combine called North American Company, which backed Major General Squier in launching Wired Radio, Inc. It took another 12 years, however, before North American first essayed Squier’s technology on the market. The year the technology was first tested–in 1934–also marked the year Squier came up with a new name for the company that would employ his patented technology. Squier combined the name of the widely popular Kodak camera and the sound of music, ending up with Muzak. The year the Squier technology first was used and the year the Muzak name was born also marked the year of Major General Squier’s death, but the name and the concept he created would flourish for the remainder of the century, becoming a pervasive presence both in the United States and abroad for generations to come.

Muzak’s first customers were residents in the Lakeland section of Cleveland, Ohio, who paid $1.50 a month for three channels of audio entertainment ranging from dance music to news. The first Muzak recording, also completed in 1934, was performed by Sam Lanin’s orchestra, which recorded a medley of “Whispering,” Do You Ever Think of Me?," and “Here in My Arms.” Shortly after the service debuted in Cleveland, Muzak’s leaders realized the company could not compete against commercial radio, so they altered their focus and began marketing the audio service to hotels and restaurants in New York City before 1934 was through. Two years later, Muzak’s management made a signal move that would steer the company toward greater heights when they began marketing Muzak service to factories and other work areas. Shortly after the introduction of Muzak into work areas, the company benefitted enormously from a windfall study. The reaction to the study would fuel Muzak’s growth for decades to come.

In 1937, the theory that music increased efficiency and reduced absenteeism in the workplace was substantiated by a team of industrial psychologists in Britain. On the heels of this disclosure, a study conducted at the Stevens Institute of Technology in New Jersey showed that “functional music” in the workplace reduced absenteeism by 88 percent and early departures by 53 percent. Additional studies demonstrated equally impressive results, convincing many that there was a direct correlation between the sound of music and higher productivity. At a dairy in McKeesport, Pennsylvania, a recording of “The Blue Danube” was played, inducing the cows to produce more milk. Elsewhere, recordings reportedly inspired chickens to lay more eggs. As news of these studies spread, a more receptive audience for Muzak’s unique services was created, giving the company a viable customer base to target.

Driven by the strong, positive reaction to the scholarly studies, Muzak expanded geographically to take advantage of the burgeoning demand for “functional music” in the workplace. To execute its expansion plan, Muzak developed a franchise system in 1938, enabling it to establish a presence in major U.S. cities such as Boston, Washington, D.C., Philadelphia, Detroit, and Los Angeles. The company’s coast-to-coast expansion quickly attracted the attention of a corporate suitor, the first of many to come in Muzak’s history.In 1938, Warner Brothers purchased Muzak Corporation and the publishing rights for the volumes of classical and semi-classical compositions North American had acquired by the end of the 1930s. Warner Brothers’ tenure of ownership was brief, however, lasting roughly a year. In 1939, Warner Brothers sold Muzak to a triumvirate comprising Waddill Catchings, Allen Miller, and William Benton, founder of Benton & Bowles Advertising Agency, publisher of the Encyclopedia Britannica, and a U.S. Senator from Connecticut.

Of the three owners, Benton wielded the most influence, and eventually bought out his two partners to gain full control in 1941, when the theory that music in the workplace increased productivity was put to its first great test. The United States’ entry into World War II proved to be a crucible for Muzak’s “environmental music,” as the need for heightened production on nearly all industrial fronts offered the opportunity to use the power of Muzak on a mammoth scale. Thousands of factories, arsenals, and shipyards were wired for music during the war, and production, as a result, increased 11 percent at those facilities that aired hits such as “Victory Polka,” “Deep in the Heart of Texas,” and “Swinging on a Star.” By the war’s conclusion, Muzak’s effectiveness had convinced corporate America that background music was a valuable aid in the workplace, and large corporations signed on for Muzak’s service, including companies such as Prudential Life Insurance Company, Bell Telephone, and McGraw-Hill Publishing Company.

By the beginning of the 1950s, Muzak’s position in the business world was secure. Less than two decades after being introduced as a unique and novel service, Muzak was not only being piped into several of the nation’s largest corporations but also into hundreds of smaller businesses as well. As the roster of Muzak clients expanded, the company funnelled money into research to develop technological improvements and to scientifically refine the music itself. Muzak’s engineers developed something the company called “Stimulus Progression,” a process of programming music at faster tempos to counteract the tendency of the human mind and body to slow down during the late morning and mid-afternoon. According to various studies conducted by Muzak, Stimulus Progression increased concentration, lowered blood pressure, and heightened productivity by gradually raising the intensity level of music in 15-minute cycles, with the relative level of each 15-minute cycle escalating during the late morning and mid-afternoon. On the technological front, no invention ranked higher during the immediate postwar years than the 1953 development of “M8R,” an electronic tape playback system that enabled Muzak to switch its recordings from phonograph to audio tape. The development of M8R brought full automation to the Muzak network, making it economically viable for the first time for franchises to operate in communities with populations under 25,000.

By the end of the 1950s, after Muzak began switching from telephone lines to FM subcarriers, hundreds of thousands of employees and consumers across the U.S. were either consciously or subconsciously listening to the emotion-tamed strains of Muzak. Muzak was being played in a wide spectrum of businesses, aboard trains and airplanes, and, beginning with the Eisenhower Administration, in the White House. New ownership arrived late in the decade when Muzak, with 150 franchisees in the United States, Canada, and abroad, was sold to Wrather Corporation in 1957. Under the auspices of Wrather Corporation, Muzak grew robustly. The company’s franchise network expanded substantially and the number of recordings in Muzak’s library proliferated during a 15-year span that included, among other highlights, the inclusion of Muzak aboard the Apollo XI spaceship that carried Neil Armstrong to the moon.

In 1972, Muzak was passed to the hands of another corporate parent when Teleprompter Corporation purchased the company from Wrather Corporation. The expansion of Muzak’s music library picked up pace during Teleprompter’s period of control, with as many as 600 compositions being added each year to the company’s collection of easy-listening hits, as the new management strove to develop a broader palette of contemporary melodies. Midway through the 1970s, the company’s vast musical selection was entered into a computer, enabling engineers to locate compositions with great speed and precision. Additional progress on the technological front during the 1970s saw the launching of Muzak’s own broadcast satellite late in the decade, signalling the beginning of the conversion from FM transmission to satellite broadcast.

*** WIRED WIRELESS *** (forerunner to microwave multiplexing)

George Squier wrote and edited many books and articles on the subject of radio and electricity.[5] An inventor, he and Dartmouth professor Albert Cushing Crehore developed a magneto-optical streak camera “The Polarizing Photo-chronograph” in 1896 to measure the speed of projectiles both inside a cannon and directly after they left the cannon barrel. This was one of the earliest photonic programs. They also worked to develop synchronous AC telegraphic systems. His biggest contribution was that of telephone carrier multiplexing in 1910 for which he was elected to the National Academy of Sciences in 1919.

As executive officer to the Chief Signal Officer, U.S. Signal Corps in 1907, Squier was instrumental in the establishment of the Aeronautical Division, U.S. Signal Corps, the first organizational ancestor of the US Air Force.[6] He also was the first military passenger in an airplane on September 12, 1908 and, working with the Wright Brothers, was responsible for the purchase of the first airplanes by the US Army in 1909.[citation needed]

From May 1916 to February 1917, he was Chief of the Aviation Section, U.S. Signal Corps, the first successor of the Aeronautical Division, before being promoted to major general and appointed Chief Signal Officer during World War I.[6]

In 1922, he created Wired Radio, a service which piped music to businesses and subscribers over wires.[2] In 1934, he changed the service’s name to ‘Muzak’.

Asked how to say his name, he told The Literary Digest it was pronounced like the word square.[7]

He was a member of the Sons of the American Revolution.[8]

(All bold above, my emphasis)

George O. Squier, the inventor of the Muzak system, was the inventor as well, in 1910, of telephone carrier multiplexing, the forerunner of microwave frequency multiplexing after World War II, and its current incarnation as optical wavelength multiplexing. Squier was a Major in the United States Army Signal Corps at the time, later becoming Major General and Chief Signal Officer. His invention was initially rejected by AT&T engineers as not being commercially viable. This view was not shared by others in the engineering community, including John Stone Stone, a distinguished independent telephone engineer. After prodding by Stone, AT&T officials began a reappraisal of the “wired wireless” system, as Squier chose to call it, and by 1914 development of a commercial system, was underway. By 1918, however, when the AT&T system went into service, AT&T was claiming that Squier’s work had only been “suggestive” and that its system was based on inventions of its own engineers. We describe the sequence of events, beginning with Squier’s invention, that led to the AT&T commercial rollout of carrier multiplexing. We also offer some possible reasons, based on archival documents, as to why AT&T downplayed Squier’s invention.

Thinking out loud . . . 1918 . . . commercial rollout of telephone carrier multiplexing . . . Perhaps more literal than was intended here (?): 'We Haven't Learned From History': 'Radio Influenza' Is A Warning From 1918 : NPR and About - Radio Influenza.

In September 1918 tens of millions died from the so-called Spanish flu but there was never any evidence it was caused by contagion. There were nosebleeds and blood hemorrhaging. Blood wouldn’t clot and there was a lot of hair loss from the unprecedented worldwide use of radio waves.

Numerous attempts were made to make it contagious but they all failed.

1889, power line harmonic radiation began.
1918, the radio era began.
1957, the radar era began.
And 1968, the satellite era began. These were the significant times when large changes to the Earth’s electric field were made. Each was accompanied by a significant flu pandemic. And each time the public was hoaxed by phony attempts at vaccines that those who administered knew wouldn’t work.

Then came the wireless era and HAARP, the High Altitude Auroral Research Project, which will be reviewed when this report is continued in part 2.

While the first part of this review focused on his conclusion that flu is not contagious — but rather is caused by the effects of electricity on the body (revealing that the current worldwide quarantine paralyzing human society and the panic it has engendered is a hoax with an ulterior motive) — the remainder of this review will be equally disturbing.

The author concludes that the impact of radio waves from the panoply of technological devices upon which the modern world has come to depend is the principal cause the burgeoning epidemics of diabetes, heart disease and cancer, as well as widespread environmental devastation.

What is worse is the author’s dire assessment of the human future. “You cannot contaminate the global electrical circuit with millions of pulsed, modulated electrical signals without destroying all of life.”

George Ashley Campbell was born on 27 November 1870, in Hastings, Minnesota. He was one of the pioneers in developing and applying quantitative mathematical methods to the problems of long-distance telegraphy and telephony. His many contributions became essential tools of the communication engineering in daily use in ever-widening fields of application.


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Pleasantville Clip (colorful courtroom scene)

Begin at the 1:48 timestamp:

Big Bob: “Red, pink, vermillion, puce, chartreuse, umber, blue, aqua, ox blood, green, peach, crimson, yellow, olive, and magenta.”

Begin at 1:57 timestamp:

Big Bob: “Well, we’re safe for now. Thank goodness we are in a bowling alley. But if George here doesn’t get his dinner, anyone of us could be next. It could be you, Gus, or you, Roy, or even you, Ralph. That is real rain out there, gentleman. This isn’t some little virus that’ll clear up on its own. Something is happening to our town.”