Rock and RollAs addressed in Chapter 8 of The Curse of 1920, following nine periods of cursed time (9 x 414, or 3,726 years) after Abraham married the cursed Canaanite, Keturah, and brought forth six ominously named offspring (Genesis 25:2); in 1920, the long-coming Curse came upon America. Americans ate the forbidden fruit of jazz music, kick starting the Curse with the excessive Roaring Twenties, wherein this nation forsook its long-established morals and began a course of social, governmental, and moral demise. Concealed in the meaning of the names of those six sons, we find the predestined course and outcome of this second prong of the deadly Curse of 1920:
1. Zimran—song, music
2. Jokshan—one who ensnares, adversary
3. Medan—contentious
4. Midian—contentious
5. Ishbak—leaving, forsaking
6. Shuah—sinking down into the mud
Thereby:Jazz music and its derivatives caused the people of America to be ensnared by the adversary and become doubly contentious (rebellious); thereby, we forsook the long-established values of this nation, and in the end it has brought, and will bring, death—sinking down into the mud!
This is the same mud that channeled the Mississippi river, carrying jazz from New Orleans to the North—eventually to Chicago and New York. And this is the same mud King David cried out to be delivered from, the mud of death by his enemy:
Deliver me from the mud and do not let me sink;
May I be delivered from my foes and from the deep waters.
May the flood of water not overflow me
Nor the deep swallow me up,
Nor the pit shut its mouth on me [Psalm 69:14–15].Clearly, this second prong of the ill music of jazz and its offshoots is the seducing Curse that has helped lead this nation into the corrupt state and death we have experienced since 1920, with ever-increasing destructive results.
From jazz to the music of today, Cursed Zimran music has continued to degenerate into the most incredibly bizarre and destructive music the world has ever known, taking many in our society to the final outcome of the sixth and final son—sinking down into the mud. But this death is not just in the natural; rather, it is a death process that goes on all around us via its ill consequences.
Look at what this ill music has done and continues to do to our youth. Beginning with the Roaring Twenties and into the ’60s to today’s rap, Cursed Zimran music has continually led our youth into ensnarement by the adversary, leading them not only into contentiousness, but double contentiousness; followed by forsaking what is right, forsaking good morals, forsaking parents, forsaking social order and the laws of Yahweh, forsaking responsibility, and becoming rebellious; ultimately leading to the sixth and final—sinking down into the mud!
Yahweh always has signposts along the highway leading to our destruction, warning us. Buddy Bolden was the first musician to start playing the jazz sounds. In his time, from about 1895 to 1907, he was called “King Bolden,” and is today called the “first king of jazz.” From New Orleans Online we read:
The King worked hard, too hard, at his music and at his girls. He began to startle the dancers with almost demonic musical passages: then he sloughed off and went sad. In 1907, in the midst of a parade, with his women all around him he halted, screamed, and frothed at the mouth. A little later the family took him to the state mental hospital at Jackson, and for nearly twenty-five years he remained there a broken man.
The founding king of jazz never recovered and died in the Louisiana State Insane Asylum in 1931, a most fitting, foreboding, and striking seed testimony and omen of the future of the music he began. As went Bolden, so has gone jazz and its derivatives.
So what happened to the king of rock and roll? Elvis Presley likewise died prematurely at the age of 42, having suffered from the destructive ills of his own career. This same ill, premature fate came to a long list of short lives in rock and roll’s earlier stars, including Janice Joplin, Jimi Hendrix, Jim Morrison of the Doors, Bryan Jones of the Rolling Stones, as well as a vast host of those who got caught up in this music and its loose lifestyle, living and dying by the mantra: “Sex, drugs, and rock and roll.” Whether the consequences directly impacted you or not, this music continues to spawn ill, destructive consequences on both performers and their fans alike, consequences that continue to be perpetuated through these Cursed musical forms.
This final fate of sinking down into the mud is foretold in the highly influential blues musician, Muddy Waters, who received his nickname at an early age due to his fondness for playing in the mud. The Rolling Stones took their name from one of his songs, and one of Led Zeppelin’s greatest hits, “Whole Lotta Love,” was based on a Muddy Waters song, as well as other artists’ songs. Muddy Waters also helped Chuck Berry get his first record contract.
His fondness for mud was a fate that would befall many, a fate that David lamented, and from which he sought deliverance. These are the muddy waters of the Mississippi that brought the virus of jazz and infected America and the world. These are the muddy waters that our nation entered into through Cursed Zimran music, and many have sunk down into the mud—the deep swallowed them up and the pit shut its gaping mouth over them!
What other revealing history of rock’s beginnings do we have? The acknowledged “Grandfather of Rock and Roll,” black blues musician Robert Johnson, began playing his music that he said was taught to him by his guitar instructor, Ike Zinnerman (Zimran). In Gary Patterson’s book on rock and roll, Take a Walk on the Dark Side, we read that this was a most unusual name for a bluesman, and that Zinnerman “learned to play the guitar at night, sitting in old country churchyards, with his only companions being the tombstones of the dead and an eager pupil, Robert Johnson. Some claimed Zinnerman to be the devil, and most of the area bluesmen had no problem in accepting this explanation” (p. 5).
The most widely accepted explanation of how Johnson acquired his talent is that it was birthed when he gave his soul to the devil at an obscure country crossroads in Mississippi. One thing is certain, his vocal phrasings, original songs, and guitar style influenced a wide range of rock musicians, including Led Zeppelin, Bob Dylan, The Rolling Stones, U2, Jimi Hendrix, and Eric Clapton, who called Johnson “the most important blues musician who ever lived.”
In August, 1938, Johnson was playing at a house party in Three Forks, Mississippi. Three days later, he was dead. There are several theories about how Johnson died: from being stabbed by a jealous husband or a woman, to being poisoned by a jealous club owner. According to Johnny Shine, who frequently played with Johnson, “I heard that it was something to do with the Black Arts [black magic, or Voodoo]. Before he died, Robert was crawling along the ground on all fours; barking and snapping like a mad beast. That’s what the poison done to him.” Poison? Yes indeed, and that Voodoo music has poisoned us ever since.
Like Buddy Bolden and jazz, foreshadowing the future of rock, at the early age of 27, Robert Johnson sank down into the mud, dying a violent death. This Grandfather of Rock and Roll has the unfortunate notoriety of being the founder of an ominous club—the 27 Club—a list of two-dozen rock musicians who all died, sank down into the mud, at the young age of 27. The Zinnerman-Zimran Curse continues, even to this day.
We noted that Johnson influenced the music of Bob Dylan, who is the most prolific songwriter in the history of rock and roll, and was greatly responsible for the rebellion of this nation’s youth against “the establishment” in the ’60s. Dylan’s musical career has spanned over five decades, and he has influenced millions with this Cursed music. But Bob Dylan is not his true name. In keeping with this Zimran Curse, his true name is—Robert Zimmerman!
The rock and roll of the ’60s evidenced the puberty of this Zimmerman-Zimran Curse, bringing contention and rebellion among our youth like never before, and putting a lot of them in the mud, and bringing many others perilously close! Following the deceiving and alluring effects of this rebellious music, our nation and the world left the laws and ways of Yahweh in the ’60s. In the ’70s, radical feminism prospered, divorce and suicide and moral debasement became rampant, and unconscionably, we began killing our babies by the millions! Like a ’60s and ’70s drug-burned mind, America’s conscience has been seared.