Are you a music fan?
If so, have you ever paid top dollar to attend a live performance from your favorite artist, only to later discover that live performance may not have been well, live?
Did you become angry, or like most, were you merely happy to have been entertained?
What if, to confound matters, you were to learn your favorite popular music recording artist wasn’t who they claimed to be?
While your contemplating, how does this play into the larger question of the simulated nature of the actor based reality and, are there larger implications at play – is humanity being conditioned to accept, and even prefer the presence of a simulated reality in lieu of what is perceived to be organic?
To many throughout the generations, pop culture and pop music have come to represent insatiable opiates. Though many would no doubt dismiss the very notion, pop music stars and pop culture icons have also come to represent sacred images, similar to the high esteem once held toward cherished religious relics of ages past.
Indeed, it remains difficult for many to find fault with any of their chosen pop culture icons, even when they are confronted with the awful truth while their majestic emperors stand before them, unceremoniously disrobed.
This psychological phenomenon deliberately exploits the primal urge to imagine that one can become part of something larger than oneself, even if that primal connection exists as a simulated substitute for genuine human intimacy.
However, further and more penetrating analysis of that phenomenon one fears, at least for now, would be venturing too far afield and perhaps beyond the intended scope of this installment.
Nevertheless, loyal readers shall soon learn, the phenomenon of lip syncing associated with the world of pop and even rock music has become virtually all-pervasive.
No folks, lip syncing isn’t just for the likes of Milli Vanilli or Madonna anymore.
However, don’t be dismayed, for loyal readers should be content to learn this installment does not intend to primarily concern itself with merely an analysis of this music industry phenomenon.
The fact is, folks, the phenomenon of performance miming or as it is more popularly known, lip syncing, has existed for decades, long before Milli Vanilli, Madonna, and hosts of other popular artists had been cited as guilty practitioners.
In fact, after briefly dispensing with the lip syncing phenomenon and why it continues to be so prevalent, one shall proceed to definitively identify a pair of popular music recording artists who have successfully portrayed multiple pop music icons over a period of decades.
One of these is a well-respected guitarist and former member of a high-profile pop act who, as it turns out, also has a connection with the Charles Manson simulated serial murder hoax of the 1960’s.
IS IT LIVE OR IS IT MILLI VANILLI?
It certainly registers as no profound revelation to learn the concept of lip syncing as a standard practice in the popular music recording industry has existed since the beginning of the industry itself. Whenever booked for television appearances, all popular music recording artists have been required to mime their performances to prerecorded music tracks. This was done, primarily because not only did it make matters much easier from a technical standpoint for the television networks and for the technicians working in the trenches, as it were, but secondarily, since the artists were technically miming and not actually performing, the network brass could avoid paying out musician’s union performance wages.
Essentially, both parties, including the artist and the television networks, were legally bound together in a business agreement borne out of mutual self-interest. The bands or artists received free publicity for their careers and recordings, while the television network executives saw the advantages in booking popular music artists to help sell more advertising.
The public meanwhile – at least during the infancy of network television and long before the live popular touring industry became so profitably commonplace – became not only conditioned to seeing their favorite artists mime to their own prerecorded songs, but became all-too-content in the notion these televised performances would likely be their only chance at seeing their favorite artists perform in any venue at all, even if it meant watching those artists bumble their way through a badly scripted performance that was most likely and obviously canned.
However, as the popular music recording industry matured into the 1960’s and the live touring music industry began to flourish – with popular music acts having graduated from solely performing in nightclubs and theaters to booking and selling out large sporting arenas – there emerged certain acts whose perceived reputations became predicated on a certain modicum of “street” credibility, acts who came to eschew televised mime shows in lieu of priding themselves on the ability to reproduce the recorded quality of their music catalogues without the utilization of any prerecorded enhancements.
Popular classic rock acts such as Led Zeppelin, Pink Floyd, David Bowie, the Who and others of their ilk, often scoffed at the notion of ever being made to mime or lip sync. They perceived, and perhaps rightfully, that choosing to do so could jeopardize their stellar reputations as accomplished musicians and song composers.
Proud that their iconic heroes would never stoop to such staged managed buffoonery, fans of the aforementioned acts could be assured that – even while risking certain sonic imperfections – a live performance was always as it was advertised.
But as the music business advanced into the 1980’s and to a greater degree became primarily a”producer driven” industry, meaning the production quality of recorded music productions reached ever greater degrees of sonic sophistication, the utilization of prerecorded enhancements for live performances became a prerequisite for touring acts whose audiences demanded and expected to experience a live performance that equaled or even surpassed their fond recollections of the cherished music recordings.
With the increased public visibility that fostered unprecedented sales of music recordings during the MTV era of the 1980’s, the public’s demand for live music entertainment increased exponentially, which in turn required musical acts to spend elongated stretches on the road promoting their latest releases. Increasingly, it was discovered that not only did the utilization of sonic and prerecorded enhancements serve to greatly unburden the physical demands of the performing musicians and vocalists, it also served as a surefire method to exponentially increase profits.
Thus, among most popular music recording artists, the practice of lip syncing which had formerly been frowned upon became standard procedure rather than a dreaded anomaly. One such formerly popular music recording artist that became notorious for their penchant for lip syncing, Manilli Vanilli, was nonetheless awarded a Grammy in 1988 and named the “best new artist” of that year.
Soon afterwards, it was “discovered” the duo had not only been lip syncing during their live performances, but had not even performed as vocalists on their multi-platinum debut release.
Aa a manufactured media uproar subsequently ensued along with a protracted public shaming, the recording arts and sciences committee was eventually compelled to strip the popular musical imposters of their prestigious awards.
What wasn’t accentuated by the media, were the blatant manipulations amplified by an inherent psychological sadism perpetrated upon the general public by the ruling elite families and their willing handmaidens employed in the mainstream media, many of whom actively worked to promote the fabricated controversy involving “Milli Vanilli”.
At the same time these identically culpable parties were exploiting the general public’s desperate need to be entertained, they were also deliberately exploiting the idea they could promote anyone as a star, even a fraudulent pair of lip syncing mannequins and still manage to garner enormous profits.
The truth is folks, when it comes to the music recording industry, the practice of lip syncing is standard practice for “live” performances, and is therefore more widespread than previously imagined, nor has the concept emerged as a recent phenomenon.
And what’s more, the record buying, entertainment consuming general public doesn’t seem to care.
Through the course of one’s brief investigation into the latest shenanigans going on in the entertainment industry, one learned of a particular classic rock act called Kiss, just now beginning to embark on yet another “farewell” tour of America.
The gist of the controversy is this: though it has been apparently well-documented by music critics and music and entertainment fans alike the vocal quality of the band’s lead singer, Paul Stanley, seems to have suffered career debilitating injuries, the band has announced that even at this late juncture of its career, it remains “at the top of their game”, and it will endeavor to go on with the tour and charge their “fans” full price for its “live” performances.
This, despite the fact it has by now been well-documented, the band is utilizing not only prerecorded music backing tracks to supplement the reproduction of the sounds heard on their classic recordings while performing in a “live” setting, but their lead singer, Stanley, has also obstinately resolved to perform on the newly scheduled tour while miming to prerecorded vocal enhancements.
One can only further conclude from this unfortunate state of affairs, that the general public, in its desperately insatiable desire to live vicariously through an endless array of heroes, saviors, saints, celebrities and rock and pop icons, is therefore willing, time and again, in becoming subjected to the psychological sadism repeatedly perpetrated upon them by the ruling elite families and their willing minions who own, operate, and are employed in the music and entertainment industrial complex.
Here we are now, entertain us, indeed!
But there seems to exist a greater conclusion which no one is willing to address, beyond the ramifications of this rather prevalent music and entertainment industry phenomenon.
Now in the 21st century, and considering the exponential rate at which the growing sophistication of digital technologies is utilized to psychologically manipulate the social, political, and behavioral tendencies of the general public, has it not become clear the masses are being conditioned to incrementally accept their forced immersion into a simulated and holographic reality going forward?
As to the ultimate answer, one shall leave it up to one’s loyal readers to come to their own conclusions. On the other hand, music fans should begin considering that, in the near future, their treasured and revered pop stars may not be human at all, but may be presented to them as holographic images.
Which brings one to reinvestigate the man behind the popular music curtain, as it were, and some of the “artists” he has been associated with while hiding under a pseudonym, the man who, perhaps more than any other, is in control of the music recording industry. The man who, as one shall soon observe, most likely served as the host actor for a very famous “serial killer”.
CHER AND CHER ALIKE
Music fans have come to perceive the artist known as Cher as one who has established a decades-long legacy of hit making excellence. But even Cher has not been left untouched by accusations of having fallen prey to lip synced performances. In reality, such accusations serve as media driven misdirection. In truth, facial recognition comparison analysis has revealed the artist known as Cher has also performed under another famous pseudonym: Celine Dion.
Celine Dion (born 30 March 1968/6=33 high-degree Scottish Rite Freemasonry/1968=33)
In addition, facial recognition comparison, ear biometric analysis have revealed the host actor of Dion’s alleged “late” husband, Rene Angelil, is none other than Hollywood recording and entertainment industry mogul David Geffen AKA Sonny Bono, son of Barry Diller AKA Austro-German prince Eduard von Furstenberg.
While making some recent edits and improvements to some older installments, one became stricken with the notion there may exist some facial similarities between the infamous “serial killer” Charles Manson and those of Hollywood music recording industry mogul David Geffen. Admittedly, one previously speculated perhaps the character of George W. Bush may have been the host actor behind the infamous Charles Manson. It still may be the case, that “Bush” was rotated in and out to serve as the host actor whenever expedient, therefore enhancing the character illusion. However, a fresh facial recognition comparison analysis has demonstrated that Geffen was likely the first to have portrayed the character in the initial stages of the Manson serial killer psychological operation.
It also appears, Geffen portrayed the host actor to Cher’s one-time husband, guitarist Greg Allman (pseudonym sums to 9 in English Ordinal gematria/occult mirror reversal=6/33 and its Reverse Full Reduction equals 54/9/6/33).
Upon further examination of the Manson psychological operation credited with ending the American “counter-culture” movement, one stumbled upon a rather curious tidbit. It is alleged that on the date of September 1, 1969 (777 intelligence joker code/7, Zayin the Kabbalah mind weapon), eleven-year-old Steven Weiss (eleven/masonic apprentice/masonic pillars of Boaz and Jachin), stumbled upon and discovered the weapon used by Manson cult members in murdering victim and budding Hollywood actress, Sharon Tate. Well, it turns out folks, that Weiss was a pseudonym for the son of Manson host actor, David Geffen, former Bon Jovi lead guitarist, Richie Sambora. Remember folks, the execution of these media-driven psychological operations is always kept well within the confines of a family unit to ensure operational integrity. This is also why the actor based reality has been able to flourish unmolested for so long.
And by the way folks, accusations of lip syncing fraud have recently been launched at Sambora’s former boss, legendary rocker Jon Bon Jovi AKA Andy Gibb (See:Unholy trinity: sex, drugs, and rock and roll (part III)
So folks, do you still feel compelled to pay exorbitant prices to see your cherished music stars miming and lip syncing to your favorite popular selections after discerning the moral bankruptcy of those who are not only its most renowned stars, but of the moral degradation of the man who, perhaps more than any other mogul in Hollywood, truly controls the destitute artistic destiny of the American music recording industry?
Or after all, do you only care about being “entertained”?