POP MUSIC MUCH MORE THAN ENTERTAINMENT (Part III)

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Picking up where we left off with the last post, speculations were offered as to the genuine source of some of pop musics biggest classics. These are songs which have for decades provided an annuity to not only the recording companies, but continue to be a huge bulwark for the industry itself.

If one’s ears are truly attuned, they will hear trends based upon old tried and true formulas recycled repeatedly. The music industry, in terms of trend setting, is a revolving wheel that keeps on spinning, only the names of the artists change, as well as the haircuts and the fashion.

In the last post, we discussed the formation of one of pops most indelibly influential acts, the Beatles. Not only did this classic group provide the soundtrack to an entire post-war, baby boom generation, but the prevailing commercial formula in terms of style, fashion, and musical oeuvre.

All this provided a blueprint, for not only future acts to follow, but for any future artist dreaming of making any sort of impact on the pop charts.

THE BEATLES AS PSYCHOLOGICAL OPERATION

But as we began to outline in the last blog installment, the mythical fame of the Beatles was entirely manufactured by the media sorcerers. In truth, though individually charismatic, the members of the group had very little to do with the indelible imprint they were to leave on popular culture. They were utilized as an instrument by London’s Tavistock institute as a social and behavior experiment, to influence a massive change of human consciousness and global perception. Judging from the robust longevity of cultural influence, it is more than fair to say the Beatles were possibly the most successful of media psychological operations.

In retrospect, if one can see past the mythical glitter and objectively observe, everything the group uttered to the media was tightly scripted. This was done for the purpose of aligning public perceptions with new mass behavior patterns conducive to strengthening the debt based global economic system. The London Crown Temple Bankers wanted to stimulate overseas trade in America, to open new post-war markets provided by the mass migrations of urban demographics to the newly built suburban housing projects. But there was also an important philosophical component in molding new pubic perceptions. In order for this psychological operation to meet with success, central organizing principles anchoring the old society, namely religion, had to be hobbled, or eradicated altogether, in lieu of new consolidating faith.

Has one never wondered why the fab four’s visits to the Maharishi in India were so heavily publicized? One will also notice that around this point in time, and extending into the seventies, new spiritual concepts were being propagandized by the media sorcerers. Yoga, and other new age activities and religious themes were heavily promoted during this era. It can be argued this was the true purpose of the artificially created myth of the Beatles, to be employed in the service of promoting the new globalist new age faith that would eventually replace the established philosophies in the minds of the public.

One glaring example can be cited: John Lennon’s famous, or infamous, statement concerning Christianity disappearing from public consciousness, adding particular emphasis on the futility regarding argument against this fact. In taking this theme a step further, Lennon also claimed, playing his role as brooding rebel to the hilt, that  Jesus himself, representing a religious archetype, was a ‘stinking, garlic eating bastard’.

With the Beatles at the height of their manufactured fame, statements like this, which also included well-placed quips from Paul McCartney about the burgeoning drug culture, had a huge impact on the youth already conditioned into accepting without question the group as virtual demigods.

One can almost imagine the Tavistock social engineers, placed around their neat round tables, formulating which emotionally charged talking points would garner the most public impact. Turns out this volatile statement uttered publicly by a young John Lennon nearly caused a riot in some southern American cities, fostering a huge backlash against the group. But this too was all part of the psychological operation, in keeping the groups name constantly in sight of the public eye. Although in protest, the groups records were thrown into huge bonfires by angry church going southern baptist american’s, this played right into the crux of the marketing plan set up to keep the Beatles at the top of the pops.

This is surely what manager Brian Epstein had in mind in artificially stimulating recording sales, in that the rioters may have burned the groups recordings in huge open air bonfires, but they had to purchase them first!

In keeping with the theme the Beatles fame was artificially constructed, one must remember Epstein was the general manager of a chain of commercial venues specializing in the sale of the latest recordings, representing the largest supplier and distributor in Northern England. With his prior connections to Tavistock, EMI, and BBC, is it such a stretch to suggest Epstein may have purchased the records himself in a distribution buy back scheme, in order to, as they used to say at the time, ‘fiddle the pop charts’?

HIT POP SONGS ARE NOT WRITTEN BY YOUR FAVORITE ARTISTS!

To some, this may not be an astounding revelation. But there is considerable reasonable doubt to be cast upon the myth of the Beatles as the composers of their own classic compositions. Before you abscond from the web page, please, here me out. It hurts me just as much as it does you, in helping to destroy the myth of childhood idols. And for me personally, not just during childhood, but well into adulthood, the Beatles represented the fine china of pop craftsmanship. But were the members themselves responsible for the creation of that classic collection of songs?

As time goes on, and given my own personal experiences in the music industry, I’m tending toward the idea someone else may have been responsible. Granted, many of you should rightfully regard the following as gross speculation, and yet my educated opinion is empirically based, and not wholly wild conjecture.  Not so long ago, although in the time span of pop culture, considered ancient history, there existed a song writing team based in Los Angeles, called the Matrix. The compositions they created were recorded and charted high for just about every famous pop artist of their particular era. Turns out, this was not an isolated case. For if one examined the songwriting and publishing credits, those were usually attributed to the artist featured on the CD sleeve. The actual composers however, remained unknown, and usually credited as producers, or executive producers.

Though the public may not be largely aware, the practice of ghostwriting in the music industry is quite prevalent, not just in pop and rock, but especially in the contemporary country and western genre. Believe it or not, this practice also extends to the book publishing business as well. Many of the famous authors one may  have included on their bookshelf, may have been written by someone other than the pen name appearing on the cover.

Concerning the subject of the Beatles, one has to wonder, if in retrospect, their classic compositions were not also ghostwritten.

Given that Beatles mastermind producer George Martin publicly admitted the Beatles were not virtuoso instrumentalists when they first arrived at EMI studios to record their debut singles, one can then freely speculate as to whether or not the boys from Liverpool weren’t assigned similar song doctoring. Research indicates in the early sixties, before the advent of the Beatles mass popularity, there existed a similar consortium of song doctors, like the contemporary Matrix song writing team. This was centered in New York, and the location of the studio was called the Brill building. Noted composers such as Carole King and the Julliard trained Neil Sedaka, were responsible for not only writing top ten hits for several and varying artists such as Connie Francis and Gene Pitney, but their own well regarded solo material.

Sedaka was noted for being particularly meticulous in working his songwriting craft. Having been classically trained, he adopted an almost scientific approach to pop songwriting, that would prove to be quite innovative for its era. One must remember, that all major record companies and their distribution outlets are owned and controlled under one corporate umbrella, leading back to the Crown Temple banking system in London.

Is it such a stretch that EMI, with a brand new group it planned to invest the heaviest media promotion, would dare gamble on allowing four unknown and largely unskilled instrumentalists to attempt to compose their own material?

With so much at stake riding on the success of the Beatles, does it not follow by dint of logic, EMI, George Martin, and Brian Epstein, would look to an already well established stable of composers, complete with a long resume of top forty hits to their credit? In that case, Neil Sedaka and his team of accomplished colleagues toiling at the Brill building would have fit the bill.

In the early sixties, Sedaka had already racked up an impressive streak of more than seven top forty hits from 1960 to 1962. This was well before the boys from Liverpool landed at JFK to crowds of screaming females, which by the way, were hired by Epstein from a catholic girls school in Manhattan, specifically for the task of providing a raucous reception America would not soon forget.

Following this line of speculative reasoning, I recently went back and searched for audio of Sedaka’s early hits of the late 50’s and early sixties. Lo and behold, if the chord structures, the air tight tautness of the arrangements, even the lyrical subject matter and content, did not nearly or identically match those classic hits issued by EMI for the Beatles from 1963 to 1965. Curious too, that Sedaka had virtually abandoned his own lucrative solo career during this time, perhaps to totally dedicate his musical skills in creating the classic hits adored by future generations?

This is not to diminish the overall musical approach of the group that became so influential. Rather, it was George Martin’s genius to apply Sedaka’s meticulously crafted arrangements to a combination of amplified guitars and pounding percussion. In combination with the Beatles stellar vocal harmonies, this proved to be a most delicious musical cocktail that America was sure to consume with great relish.

BEATLES NUMEROLOGY

Then, there is the subject of the Beatles discography, with particular attention paid to the release dates chosen by EMI. Their first single issue, ‘Please, please me’, was released 22 (2+2=4, or the door of perception through which an idea is placed in the public mind, also representing double 11, or master builder in the Scottish rite of Freemasonry.) March, ’63 (3+9=12, 21 flipped in the mirror, or triple 7, the media spell magnified three times for maximum penetration into the human conscious mind).

It is also noteworthy that ‘Meet the Beatles’, was released November, 22, ’63, the same day as another infamous media psychological black magic operation, the JFK assassination.

Could it be more than coincidence, all of this was planned in advance by the social engineers at Tavistock in London, to create a new order out of the social confusion, grief, and chaos wrought by such a publicly traumatizing event?

Given what we’ve learned so far about history being scripted by the media sorcerers throughout the 20th century until the present day, my guess would be a resounding affirmative!

NEXT UP: The biggest secret of the bible, part III!

FEMINISM ALL ABOUT PROFITS NOT FREEDOM

handsome-wizard-fireball-showing-black-background-49846858This shall be another short, perhaps even diversionary post, until part three of the series concerning the study of pop music, of its origins and purpose, materializes in mere days.

Many may judge from the title above that the writer of this particular post harbors misogynistic tendencies. This is not so. But the genesis of the feminism movement developed from primarily profit driven motives. It was never about feminine independence or personal empowerment.

Can one call themselves free if they are confined by the four walls of an office cubicle?

It has been noted several times in past posts concerning the agenda of Crown Temple bankers and their handmaidens the media sorcerers in shaping social and economic trends. The sole purpose of the feminism movement was not to stimulate the personal growth of millions of women convinced of the perception they were exploited by a white male dominated society in positions of power, but rather to expand the tax base from which the bankers draw their profits, creating more debt based financial instruments with which to create in turn greater mass dependence.

The logic involved behind the artificial stimulation of the women’s movement, is that if there were more women out in the work place, there would be more paychecks from which could be drawn state and federal taxes, as well as creating more debt and fostering new trade markets.  If one follows the proverbial money, one will immediately note the Rockefeller family at the root of every foundation funding women’s issues, issues that were later accentuated by the media sorcerers in shaping public perception.

The Crown Temple bankers have been behind every social and political movement of any note stretching back to the ideological foundations of the communist revolution. Lenin and Trotsky were every bit the hand puppets of the bankers that such women’s movement luminaries as Gloria Steinem, and Camille Paglia.

The very methods of operation that set up the feminism movement into motion were the same that set up the counter-culture, communism, fascism, or any other major social or political revolution one cares to name.

ONE SHOULD NOT BELIEVE IN AN ISM, BUT BELIEVE IN THEMSELVES

The feminism movement was but another case of duping tens of thousands or even millions of otherwise dedicated, hard working and well-meaning individuals in becoming party to their own enslavement, slaves to the very white male power structure they claimed to be railing against.

In truth, the Feminism movement is another profit motivated pyramid scheme covered over with superficial ideological gloss. One sees the by product of this so-called independence movement even today, in the breakdown of the nuclear family unit, the hallmark of any strong society as an anchoring and organizing principle. In fact, if one observes closely, there is a parallel to be drawn between the emergence of the feminism movement and its spin-off profit making niche the emergence of the social services industry. One will notice in the last two generations alone, the growing demographic of single motherhood, some conditioned by the pseudo-philosophy of feminism, that they can raise a family on their own, and do not need a man for financial support. This plays right in to the hands of the Crown Temple Bankers, who in creating a plethora of state sponsored social service programs, have a deeper well of profits to draw from. While the single mother’s are out working more than five days per week, more than forty hours per week, their children are placed in day care centers, many of them connected to various government funded organizations. As a result, entire generations of children are being raised by the state, and the existence of the nuclear family, the bedrock of all strong societies, gradually vanishes. This is completely in line with the Crown Temple Bankers philosophy of order out of chaos, causing the social problems that they in turn have ready made solutions for. In this way, with entire generations of children reared by the state, propaganda becomes easier to dispense to those conditioned to government dependency. How can democracy thrive when these are the prevailing social conditions? It can’t, a scenario the Crown Temple bankers owning and operating the US corporation foster at every turn.

But that the Crown Temple bankers are very adept at creating order out of chaos, this isn’t very surprising. The above mentioned leaders of this movement back in the 20th century were much like their counterparts in the counter-culture movement; Timothy Leary, Abby Hoffman, etc. etc.., representing government created personas, or controlled opposition, in essence gatekeepers.

While the likes of Steinem and Paglia were exhorting women from all social and economic backgrounds to become independent of the white male dominated power structure, they were inducing not independence, but slavery.

Look next for part three of the long running blog series on pop music, coming very soon!

POP MUSIC MUCH MORE THAN ENTERTAINMENT (part II)

POP MUSIC MUCH MORE THAN ENTERTAINMENT (part II)

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WHY POP MUSIC IS MORE THAN ENTERTAINMENT

Part two in this series of blog posts shall center on the machinations behind the creation of the music mass marketed by the media sorcerers.

By now, anyone viewing this blog is familiar with the concept that what one hears on the radio, or views on television screens and witnesses on the video channels is created for a far different purpose than is normally perceived.

In truth, pop music’s ostensible purpose of entertainment is only surface, the essence is quite something else entirely.

The stars throughout the hallowed ages one has come to appreciate, and perhaps even adore, are not widely marketed for one’s viewing or listening pleasure. Rather, the real purpose is in fact far more sinister.

Though many are entranced by the sheer glitter and sparkle of mass consumed pop music, it is well to keep in mind this is but another avenue through which the media sorcerers put the public under a spell, to influence, and ultimately shape public behaviors, conducive not only to profit making through the trade of commercial goods and services, but to induce mass psychological and social conditioning.

After all, an obedient population, not prone to intellectual curiosity about the machinations of this world, is far easier to control than one organized around an independent spirit of mind.

THE PERFORMERS ARE INCIDENTAL, THE SONG REMAINS THE SAME

The fact is, whether it be Eminem, Elvis, The Beatles, Michael Jackson, or even Lady Gaga, pop stars are in fact archetypes, actors playing a role scripted for them by the media sorcerers. Though the concept may seem bizarre to some, pop stars represent various behavioral models designed to stimulate social agendas, targeted towards one population demographic or the other. They are human billboards selling a lifestyle, a demographic designation complete with ancillary products ready to market.

The real purpose in marketing these artists is to hold them up as behavior models, to be not just worshiped or adored, but imitated and aped, both in manner, dress and speech. Although we began the last post in this series in examining hip-hop, it is necessary to travel back further, in order that one might better understand  the completely sinister nature of not only pop music, but pop culture itself.

TAVISTOCK INSTITUTE

In London, not far from the one square mile tucked inside the city proper, headquarters of the Crown Temple Bankers, sits a rather bland facade not included on the list of tourist attractions. Though the outside may appear unremarkable, the carefully crafted scientific work having to do with human behavioral sciences that has gone on inside, is rather grand indeed. The Tavistock Institute may be rather obscure to tourists, and even native Londoners, but the effect of the ongoing research can be felt around the globe,  in schools, universities, law enforcement, corporate boardrooms, and workplaces.

The scope of Tavistock research is far reaching and deep. The Briggs-Meyers personality tests, now standard for all entry level prospective job applicants seeking positions within the Fortune 500, were first meticulously developed by Tavistock, and the Stanford Research Center, which represents a Tavistock sister laboratory for social sciences research. Tavistock influence extends to even law enforcement, not only in the EU, but in America, where Common Purpose, a sub-set of Tavistock, has been contracted to offer standardized training to police and fire departments.

Perhaps the most stunning example of this organizations handiwork occurred during the second world war, when at the behest of  both Britain’s Home office and Prime Minister Winston Churchill, a study was conducted in and around London to observe and determine the psychological effect of the German bombing raids on the populace. Tavistock social engineer’s concluded that through the regular and steady bombardment of penetrative or even uncomfortable stimuli, the malleable nature of the human psyche could be molded, or programmed, into any desired shape.

This research extended for the entire duration of the war, and even beyond, funded on the public dime. In essence, the populations of London were held captive like laboratory rats in cages, to be studied by mad scientists-and they were footing the bill, while men, woman, and children were being systematically subjected to psychological torture, and blatant mind rape.

That this brings questions about the true purpose and the official recorded history concerning the second world war, shall be examined in another post. Suffice it to say, when one considers that all countries, particularly in the West, are merely corporations owned and operated by the Crown Temple bank, is it such a stretch to speculate that the concept of war in a modern context may have an ulterior purpose, rather than opposing one or more military forces upon a battlefield for some mere geopolitical purpose?

THE BIRTH OF ROCK ‘N’ ROLL

Additional post-war research conducted by Tavistock concluded that excessive volumes of repetitive stimuli pitched at certain frequencies could mold the human mind via the subconscious, coaxing dormant fears, desires, whether of a sexual or violent nature forward into the conscious mind. Additional corroborative research performed by Stanford Research Center underscored these particular findings, and the psychological sorcerers at Tavistock decided to put these experimental results into practice.

It is important to note that Tavistock Institute is intimately involved with broadcast media, both television and radio, specifically the BBC. Conspiring with the media, and corporations embedded in the publishing and recording industries, a new sound was unleashed upon the ears of the unsuspecting masses, one that would have profound effects for generations to come, just what the social engineers  intended.

OPERATION ROCK AND ROLL

Plato spoke of the intimate relationship between politics and music in his classic work The Republic. It was well understood by the ancient Greeks that man could be coaxed to certain behaviors through the stimuli of musical tones.

That this continues to be a modern day practice, even in the 21st century, is not surprising. Plato understood that this three dimensional space mankind occupies consists mainly of light and sound frequencies, and that with proper scientific application, these frequencies can be manipulated into desired formula.

Music has a profound effect on the nervous system, and when applied to the arena  of politics, it can be used for good or ill, mostly for the latter purpose by our modern day media sorcerers. This concept represented the crux of the Tavistock plan for implementing a new style of music to stimulate certain consumer behaviors. By the end of the second world war it was well understood by these social engineers the profound effect a heavy bombardment of steady and repetitive stimuli would have on the human nervous system. Thus was born the phenomenon of what came to be known as rock and roll.

Truly ironic that older musical forms based on rather simple and repetitive chord structures developed by blues artists of the 1930’s and 1940’s, would come to be updated and massively exploited by white artists, while the originators would be largely excluded in benefiting from any successive commercial windfall.

The legendary heavy rock progenitors Led Zeppelin were known even in their commercial heyday to outright filch arrangements from older blues artists, merely affixing new titles to the compositions, and claiming themselves as the original composers.

The post war period saw Tavistock and the London Crown Temple bankers conspiring to stimulate overseas trade, particularly in America, where new commercial markets were expanding to a newly developed population demographics settling outside the major urban hubs. The development of a new form of music would stimulate these markets to maximum profitability, leading to the formation of what came to be known as the suburban middle class. Intelligence agencies, in the form of the newly formed CIA and British MI5 and MI6, began working on behalf of their industrial masters to dominate commercial television and radio through Operation Mockingbird, which not only succeeded in planting agents within the communication fields to ensure the effective spread of government propaganda, they were also instrumental in placing agents in key positions at radio and television broadcast networks, formulating with utter certainty the new art form would reach the ears of millions of listeners by creating and driving forth artificial demand for this particular product.

THE BEATLES FAME WAS ARTIFICIALLY CREATED

Of all the classic pop artists, no legend other than the Beatles holds a tighter grip on public imaginations. But as you will see, it was all a psychological operation, designed for a specific purpose in mind, to reshape public perceptions and behaviors. Right from the beginning, the story of the Beatles formation and their ascendance to fame and fortune seems at best, viewed objectively, a most unlikely scenario. It must be remembered that EMI corporation, which eventually ended up signing the group to an exclusive contract, was merely one element of a larger construct. The company was merely part of Britain’s military industrial complex, inextricably linked with intelligence agencies and the Crown Temple Bankers, namely the Rothschild family, one of Europe’s most prominent banking bloodlines. Though it is not retold in the official legend of the Beatles, EMI was not the first label manager Brian Epstein presented the group for commercial consumption. Since Operation Rock and Roll, directed from Britain’s Home Office, and overseen by the Prime Minister’s cabinet agents, was launched to stimulate overseas trade in America, it was believed that if the group was to become a world wide phenomenon, then America was where the commercial markets to exploit this new art form existed.

Needless to say, Epstein’s first attempts to break the band in America were a dismal failure. First having been signed by Bell Records, a small record label in Philadelphia with mafia financiers as silent partners connected to the Kray brothers back in London, the Beatles first single, I want to hold your hand, barely charted, forcing Epstein to re-calibrate his efforts. This is where Ed Sullivan, one of CIA’s agents installed at CBS, headed by high degree masonic figure William Paley, came to the rescue. That the late Beatles producer stated many times how incompetent the Beatles were as instrumentalists, with particular regard to Ringo Starr, who Martin claimed could not even perform a simple drum role, is downplayed incessantly by any recounting of the Beatles tale in their Horatio Alger journey to the top of the pops. The question is never asked, how is it that four obscure barely competent Liverpool working class louts could have written such indelible pop classics during their first recording sessions?

In part three, coming up soon, we will delve into educated speculation as to the source of some of pops greatest compositions, as well as outline the purpose of the psychological operation known as Rock and Roll!

PUBLIC SCHOOL SECURITY NOT ABOUT SAFETY

With the plethora of Homeland Security school disaster preparedness drills sold to the public as actual events, it is time to address the question of what might be the motivation. Though the answer may be obvious to some of the more well-informed, to most, such a revelation eludes.

Of course, if one has been visiting regularly, one is familiar with the concept of media psychological manipulation in shaping global perceptions, and stimulating corporate trade.

In other words, the proliferation of public school districts nationwide adopting private security companies to keep students safe isn’t about the children’s well- being or security, but about financial corruption, conflicts of political interest, and frankly, the upscale production of corporate profits.

This represents a cynical manipulation of public emotion to benefit private interests closely in league with government.

That proximity between corporate and government interest is the very definition of fascism is purposefully omitted by the media sorcerers.

For example, it was never reported that many of the so-called parents of Sandy Hook victims have shilled for NAVIGATE, a private security company specializing in the production of surveillance cameras, metal detectors, and other high-tech digital gadgets useful in turning public schools into gulags.

Though media sorcerers inform these are merely grieving parents concerned for the welfare of children, this is not so.

If one observes objectively, they are acting as lobbyists, actively in the pursuit of soliciting business for private interests at government expense. Meaning, while reasonable doubt is thrown onto the safety of public schools, emotionally manipulated tax payers are fleeced in the name of corporate profits.

Would that most see through this wafer thin veil protected by media sorcerers magic spells.

But alas, they do not.

Nor is it likely to occur anytime soon.

The iron grasp of political correctness tightens like a boa about public perceptions, and woe to anyone suggesting these televised Homeland Security drills are anything other than mass tragedy.

That most refuse to believe the reported victims of these theatrically staged productions are not actual, but simulation, is testament enough to the power of media sorcerers spells.

But to address the bigger picture: namely, that the all-pervasive proliferation of government surveillance as it generally  relates to the invasion of personal privacy, is merely an effect, and not the central purpose of government total information awareness campaigns.

Rather, the purpose is the pursuit of profits, profits at the expense of the people.

Many may not realize that on-line social media sites are merely information gathering portals, the legality of which is established by willful consent of those participating. Though many never read the fine print of terms and conditions, any information provided of a personal nature can be given or sold through third parties.

Information which is then utilized to formulate corporate sales demographics.

In essence, while many millions are treading social media’s wilderness of mirrors, they are legally consenting to have personal information funneled to third parties, parties which use those gigabytes of information to sell you more products, consumer goods one could surely do better without.

However, this is the culture we have wrought, one with the prevailing philosophy of craving instant gratification instantly.

If the media sorcerers continue to broadcast these drills as actual events, it is only because it is profitable.

In other words, this is the true nature of the beast, conducting business as usual.

THE BIGGEST SECRET of THE BIBLE (part II)

One must remember the truth movement is filled with controlled opposition, that is, they are there to disseminate disinformation, to keep human consciousness, much like the mainstream media sorcerers, locked within the barriers of excepted perceptions.

They are not offering anything to liberate, but to subjugate.

They are not offering anything that will inform, but to dis-inform, to keep humanity locked permanently within very narrow gates.

One will generally find, any serious inquiry with regard to the following subject herein examined, will automatically be turned aside, and perhaps even scoffed at. But the elites, in charge of the worlds major religions, are well aware of this long hidden information, and will go to any links to make certain it remains out of the hands of the common man.

THE REVOLUTION WILL NOT BE TELEVISED

Meaningful change, whether it be social, political, or economic, will not come in the form of the proletarian marching or protesting in the street against some perceived government trespass, nor will it arrive through the election of some puppet of the Crown Temple bank to the office of presidency. Rather, it will come through a concerted effort of knowledge seeking, of keen introspection, and in the forsaking of all major media operated by modern day sorcerers, only interested in selling more of their commercial trade through the manipulation of public behavior.

The literal interpretation of the bible, propagated for so long, will continue to remain prevalent, as long as the high priests in the major churches remain perched in their ivory towers, and as long as the masses of the world continue to worship at their altars. It could be constructively argued, that all major religions were formulated as a blinding veil to hide this one truth, to keep the secret of occult knowledge from ever being handed down to those construed as ‘commoners’.

As was outlined in the last post concerning this very subject, the true revelation in the bible is kept well hidden, beneath an avalanche of figures of speech, beneath transparent allegory’s, and concocted fables.

What is not generally known, is that the biggest secret hidden in the holy bible is quite evident in all mythological stories, from Little Red Riding Hood, the Grim Brothers tales of Hansel and Gretel, in all the Disney movies such as Cinderella, Beauty and the Beast, and it is even to be found hidden in the retelling of the Santa Klaus myth every year at Christmas, which by the way, is traditionally a pagan celebration honoring the god Saturn.

The exoteric version of the holy bible, taught by modern day evangelists, and catholic clerics, is evident in the literal interpretation of the rapture, where it is claimed an anthropological figure will descend form heaven to the earth, rescuing all those who have been ‘saved’. But heaven and hell, as referred in the bible, and other holy books, do not represent nether dimensions one reaches upon physical death by dint of good or sinful works while living here on this physical plane.

In truth, the transformation will not take place in the form of a savior coming down from some nether dimension to deliver humanity from its long night of oppression, but will rather take place within your very own anatomy.

In other words, the spiritual transformation, whereby humanity finds everlasting transcendence, is not metaphysical, but biological.

The revolution will indeed not be televised.

In biological terms, this is a process the ancients were well aware, information kept secret for centuries hence. All the stories in the bible are allegorical in nature, describing a transforming process that if understood, can lead one to live an elongated life, well past the average life expectancy.

Have you never wondered how it is some of the major figures told about in the old testament lived for several hundreds, if not thousands of years?

This special transforming process starts with the Christ oil secreted by a part of the brain called the claustrum, which is found centralized in the cerebrum. From this part of the cerebral anatomy, the oil descends by way of the spinal chord or column, to the five fused bones in the bottom of the sacral plexus, which are located at the very bottom of the vertebrae region. This is what is being described by the retelling of Christ’s crucifixion.

It is interesting to note, that the Christ oil remains in the solar plexus for a period of three days, or as is stated in the bible, laid to rest in the tomb. The story of the resurrection is in fact describing the ascension of the Christ oil at the conclusion of the three day period, returning to the cerebellum, where it’s power is increased thousands fold. In ancient Greece, and it is important to remember the original biblical texts were written in Greek, this was termed ‘the light of the world’.

In the bible, the story of Jesus being born in a manger, in the city of Bethlehem, also represents an allegorical reference to this process. But there is also an astral-theological component to the story, in that the sacred oil cannot rise until the moon enters ones sun sign once per month. When the Christ oil is allowed to ascend back up through the spinal column, travelling all the way to the cerebellum, activating all the human chakra centers on the way, the optical thalamus is once again activated, igniting and regenerating long dormant brain cells.

It is then one has experienced what is known as illumination.

Unfortunately, many of the worlds masses never experience this.

Because of unhealthy diet, and over consumption of toxic foods, and due to over indulgence in alcoholic beverages or chemically derived pharmaceuticals, the Christ oil will not ascend, remaining in the solar plexus.

THE AGE OF ENLIGHTENMENT

If one researches this information closely, they will find that all anatomical elements, from the spinal column to the cranial region are allegorically represented in the Holy bible, purposefully hidden by the forty-seven scholars employed by King James I, charged with rewriting the biblical texts centuries ago, during the age of enlightenment.

Each anatomical element involved in this very special process, directly corresponds with  an astrological sign. However, one is rightfully justified in articulating the fact this knowledge will never be disseminated by your local rabbi, priest, or reverend. In fact, whether they realize it or not, their sole function is to maintain a veil of obfuscation, to prevent their respective congregations from ever encountering this particular information, at all costs.

The age of enlightenment may be touted by historians as having been the era when the largely illiterate serfs had an opportunity for the first time to become truly educated, but more than cursory examination does not bear that claim out. To a very large, if not complete degree, this was an age where the general populations were excluded from ever gaining meaningful interaction with this sacred knowledge. For this transforming knowledge has always been suppressed by the established religions, whether by the Muslim brotherhood, any conservative christian sect, or the Vatican, specifically the Jesuits, they being the most likely and  overt gate keepers.

In part three of this blog series, we shall briefly examine those verses in the bible that most directly describe or overtly refer to this special process, the long hidden secret of human immortality!

Presidential Punch and Judy puppet Show

Presidential Punch and Judy puppet Show

Transitioning back to the political arena for a very abbreviated post, I could not resist the urge to comment on the superficial and scripted spectacle recently presented to the public.

Many, sadly, still think their effort in voting for the candidate of choice represents democracy in action, or for those still steeped in cognitive dissonance, participating in some sort of ‘sacred’ franchise.

Many still have not, or worse yet refuse to consider, the tragic concept of having the privilege to elect, but not select the candidate of particular choice.

escape-to-death_banner1071For the selection process is done entirely in secret, a process the registered ‘voters’ aren’t, and never shall be, privy.

No, the televised ‘debates’ are merely the political equivalent of American Idol, a crude spectacle rife with calculated gestures, scripted talking points, a low brow demonstration of cynicism and corruption writ large, designed strictly in mind for the 21st century age of shortened attention spans and lowest common denominator.

That these critiques aim at low hanging fruit I shan’t deny, and yet these dismissive comments bear repeating.

Your country is a corporation owned and operated by Crown Temple bankers in the city of London, representing global governance waiting for the right historical moment, scripted no doubt, to emerge from behind the top secret curtain of national security.

But what else is to be expected, amidst a popular culture obsessed with instant gratification. America is a victim based culture always desperately seeking the emergence of some mythologized hero, an Arthurian noble rushing in on a white steed to bravely rescue, a culture steeped in vicarious identification with mass marketed cults of personality.

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Worse yet, in moments of prudent, and perhaps deeper consideration, does one actually believe individuals in custom suits and coiffed hair, relate to the common proletarian in any fashion whatsoever?

Does one actually believe, either so-called candidate is really intent on serving the people’s interests?

From any objective criteria, the answer is a resounding negative. One must come to the realization, that the presidential debates are merely Hollywood productions to hold captive blunted attention spans long enough to sell more products, so one can be induced to purchase material goods better left without, to impress and induce strangers to evergreen shades of envy.

And yet, those that have even a sliver of an inkling the aforementioned is true, still participate, in the dim hope the paper thin actor of their choice, might actually offer something to their benefit. But, by now, such participation is tantamount to engaging with empty social ritual. Forgetting, for a moment, one of my earlier posts outlined not only the true nature of American politics as staged theater, cast with host actors playing out starring roles, but I went so far as to identify the true identity of Hilary Clinton played by none other than a certain Hollywood screen actress, Annette Bening. And, the right wing side of this cruel political dialectic doesn’t get off easy either, because Donald Trump is merely an empty carnival barker, delivering his lines on cue.

Many will scoff, and opt to take part in this empty social ritual, simply because it gives them a certain respectable cache in their chosen community. Ultimately, it is much easier to follow than lead, much simpler to go along to get along, believing in the grand illusion known as American politics.

Perhaps next time, I beg one not to be so easily duped.

One would do well to remember; it is all of us, whether rich or poor, black or white, Hispanic or Asian-American, man or woman, that are being manipulated by this hokum charade.

Please, consider what I’ve stated, before the next time one casts a so called ‘vote’!

POP MUSIC MUCH MORE THAN ENTERTAINMENT (PART I)

Though many may find the following offensive, perhaps even absurd, nonetheless we shall headlong proceed. Music has a power over the human mind one can neither qualify nor quantify, and practically right from the cradle, most of the population are inundated with pop radio and video.

And yet, the thought this may be another avenue, utilized by elites to enact social conditioning, or shape mass human perception, is hardly considered, if at all, by most.

Pop music is the sweet elixir wringing in the enchanted ears, and yet many remain unaware of the darkness awaiting just beneath the honeyed veneer. Pop music represents perhaps the most potent weapon in the elites arsenal in controlling the minds of the populace. For the masses of people, pop stars represent an object of devotion, or even in extreme cases, blind worship. Many spend precious hours following the entire careers of one particular singer or pop group. This investment is not just measured in time, but in financial support, in the buying of CD’s, merchandise, T-shirts and other related commercial items.

For the elites, these public puppets exist as vehicles for maintaining their social and political hegemony, as well as accumulating vast profits.

MUSIC LEGENDS ARE A CRUEL HOAX

I do not mean to claim that there are not those pop music stars who have not possessed genuine and even unique and special talents. One must consider however, for what ultimate purpose is the talent exhibited being commercially exploited?

I suppose some sort of sympathy is in order, for those afraid to look beyond pop music’s glittering veneer. But for those that may scoff at such a seemingly absurd notion, please consider the alternative perspective.

In truth, though ones favorite artists become larger than life, legends looming large in the psyche, indestructible monuments that can seemingly never be breached, they are a cruel hoax, a fabricated sham, mere archetypal models, designed to control the parameters of the public mind, and to mold social behaviors.

One does not generally enjoy destroying this sort of sacred cow, for even those disposed of late towards enlightenment, find it difficult to be persuaded that their favorite artists from the flower of their youth, nor the people that control them, may not have vested or best interests in mind.

In fact, most of the stars admired throughout past generations, are not who you think they are.

For they are not only agents of fortune and fame, but puppets dangled from the strings of the elites, the Crown Temple bankers, who own and operate not only the US corporation, but every major recording and publishing company, including their subsidiaries.

Unknown to the public, the stars themselves do not come from humble backgrounds, rather they are the children of the rich and privileged, groomed, much like the actors playing roles in international, national, and local politics, for the roles they are to enact.

The biographies concocted by Madison Avenue marketing firms are pure fantasy, designed to construct myths in the public mind, and more effective still, plant the idea that the door to the mythical American dream of grand success is open to anyone.

But the idea of attaining the American dream is unreachable for most, in fact it is pure bunk. Most, as the poet once wrote, lead lives of quiet desperation. Pop music and the promotion of its most heralded progenitors, is a tool used by the elites to shape those ill-formed energies, and transform them into social behaviors synonymous with consumerism. Today, pop stars are nothing more than human billboards selling a lifestyle and its accompanying consumer accessories.

If one listens closely, and analyzes with any shred of objectivity, does one actually believe the artists heavily promoted on radio and video channels ad nauseam, are in fact the most talented, most gifted artists available for mass consumption. Or is there yet another secret to their massive and well lauded so-called success?

Let us start once again with the timeless mantra; follow the money.

With diligent research, one will eventually discover all major media, including all major recording companies, are owned and operated under one umbrella, an umbrella held squarely in the iron hand of the Crown Temple bankers in the city of London. Has one never wondered why the sun never sits on the British empire, or in a contemporary sense, the Anglo-American empire. As has been outlined to one degree or other in past posts available on this blog, the concept of myth making is very profitable, and in the case of the music industry, a profitability that can be generated not just during the short tenure of any particular artists career, but long after they have disappeared from the public eye, preferably through death, deaths which are usually faked.

The better to create lasting myths with the added aura of fear and mystery of that which lies beyond this material dimension. Though they no longer may perform on stage or release records, the image can never fade, mythical and unfading images permanently seared into the human memory, memories which can be replenished again and again through the stimulation of nostalgia.

Have you never wondered how it is an objectively marginal talent like Madonna can still be popular, long after her heyday has receded. Have you never wondered if any of your favorite artists actually are responsible for the creation of the classic songs featured on commercial radio, generation after generation?

Having been on the inside of the music industry, this is a particular subject close to my personal heart. It is possible to say, with utter certainty, that the average popular music lover, whose actual experience in music is rather shallow, possesses little, or in reality no idea, of the sinister machinations driving the pop music industry machine.

And it is a machine, in every sense of the word!

On the other hand, if the public at large had only the vaguest notion of what really constitutes the process of mass myth making, as it relates to the creation of pop stars or popular entertainers, it is also safe to assume the elites vast profit machine would be compromised, perhaps ground to an absolute halt.

An immediate analogy can be made between those artists eclipsing super stardom and the aristocracy of the middle ages, in that they both possessed the grand luck of primogeniture over the rest of the population, chained to the indentured servitude of nine to five office cubicle slavery.

Like religion, pop music comes attached with its own sort of special and fanatic devotion. Many of the artists themselves, as in the case of Elvis, the Beatles, or Michael Jackson, become elevated to the status of nothing less than demigods, the power and wonder of super stardom stimulating almost supernaturally transcendent visions.

Since we are viewing this particular topic from a purely 21st century perspective, our analysis of this phenomenon known as pop music shall begin with the genre of popular music known as Hip-hop.

RAP STARS ARE NOT FROM THE GHETTO

In the supposed semi-autobiographical cinematic account, 8 mile, of the life of Marshal Mather, better known to his rabid fans as Eminem, the final scene of the rap battle with his nemesis the Free World, gives a clear glimpse into the darkest secret as to the true origins of many of hip-hop’s most legendary stars.

That they are in fact, not from the ghetto, but rather like the character of Clarence, the rapper lampooned and eviscerated by Eminem in the final rap battle scene, actually the children of wealth and privilege. Or, as Eminem reveals to the audience gasping in shock, Clarence is indeed not from 8 mile, but from a more privileged neighborhood featuring a private school normally matriculated by members of the upper-middle class of society.

Once again, as in all Hollywood productions, the phenomenon of numerology codes shows itself once again. The very title of the movie 8 mile (8= double 4, or the manipulation of both dark and light, control over the duality of man), is a very popular code utilized by the elites to demonstrate their hegemony over the masses.

Certainly, most hip-hop fans never realize they are being subject to mass manipulation. That they are being sold an idea, affecting not only their future behavior, but control their very perception of the world and their place in it.

Many too, and this includes most alternative so-called truth sites, have never bothered to point out that the very name Eminem is a play on words (double M or 33 when viewed in the mirror flipped, the highest degree attainable in Scottish rite masonry).

Observing for a moment Eminem’s foes in the Free World crew, each represents a satiric characterization of rap stars contemporary at the time. While the character of Eminem points out the real identity of his most lethal foe, and his true social and economic heritage, he wittingly gives away the method of operation the recording industry has utilized since before the era of Elvis and the Beatles, in creating its most mythological figures.

Indeed, the stories you have been told regarding your favorite music stars is a pack of lies, and yet most are too blind to even investigate.

Indeed, the true name, origin and background of many of yesterdays most heralded pop stars were in fact a sham, a concocted story to stimulate public imagination, and thus stimulating profitability for the Crown Temple bankers, who control not only the recording industry, but Hollywood as well.

In the next installment of this three part series, we shall delve more into the history of not only hip-hop, but classic rock as well.

We shall examine the true reason for each genre’s creation, and the ulterior purposes responsible for it’s prominent level of public promotion within American pop culture.

Until then, remember that what you’re listening to on the radio or watching on that video channel, represents much more, than just entertainment!

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