If you believe that the music and entertainment industry is there simply to entertain us and make money in the process for its artists, promoters and producers, please think again.
Popular music especially and its highly-paid exponents are merely pawns of the Elite and are there in order to further manipulate our minds – especially those of impressionable youth and now even young children.
There is a long history of manipulation in the music industry, going back many, many years. The music ‘business’ itself has actually been around since medieval times, but can only be referred to as a true ‘industry’ since the early nineteenth century with the simultaneous developments of the orchestra, the employment of conductors and certain publishing and printing innovations that allowed music to be easily transcribed, passed-on from person to person and to be sold as sheet music.
In the early eighteenth century, there is recorded to have been around 8500 composers of music in Europe alone and yet around 8400 of them, despite the fact that their music may have been brilliant or innovative, have never had their music extensively published or played, other than in small, localised concert halls and much of it is today now long-forgotten, lost or deliberately buried. Why should this be? Mainly because, as today, the music industry then had its favourites and certain personalities including the likes of Mozart, who whilst feted as a celebrity of his time, probably did not compose much of the music attributed to him then and since.
Mozart was simply a manufactured ‘focal point’ in effect, upon which the money-interests of the music business of the time could focus and from whom it could derive its profits, as was Beethoven. This may well sound cynical and possibly unbelievable, but I can assure you that it is true. How similar to today then? Today’s music industry is rife with such characters, people who have been chosen and indeed ‘created’ to be focal points and the personalities, celebrities if you will, who carry the burden of providing profits for an intensely money-focussed industry, ultimately regardless of the degree of talent they may or may not possess.
Musical history does not wish us to be aware of this fact; it just wishes to continue to promote the popular icons of the day, focussing on an artificially generated, elite group of composers who with the passage of time have been placed on pedestals and thus made immortal, just as many famous rock stars have been made the ‘saints’ of the new religion that is music, today.
The involvement of occultists in the creation of the ‘superstars’ of their day, such as Mozart, Beethoven and Haydn, cannot be ignored. Indeed the occult influence in music has always been a factor and today is absolutely rife throughout the whole of the music industry.
There is also a long history of connectivity from music to mind control going back to the 1950s when ‘pop music’ in its present form was first pushed upon an unsuspecting world by the mass-manipulators of the Frankfurt School and the Tavistock Institute and many performers, singers and members of bands are manipulated into promoting a satanic agenda by recording labels and producers who are also ‘up to their eyes’ in the deadly scheme. Is it at all artistic for people to sing about pain, suffering, death, sadness and despair in such quantities and who would want to taint the formerly beautiful art of music with such things? It is actually an essential aspect of the latter-day degeneration of music and the lowering of consciousness. This works in the same vein as film and television programmes that seem to have now evolved into excessively depressing and/or violent experiences for the viewer, even for very young children who are being increasingly exposed to overt sex and violence and when those few who still actually care about such things complain or point it out they are often labelled as a ‘prude’ or ‘old-fashioned’. Often today music is excessively depressing, replete with songs contain lyrics extolling the virtues of extreme selfishness, greed, violence, death, suicide and murder. And this is not just in heavy metal (the previous chief culprit) any longer but has now been expanded to all forms of modern music even the ‘middle of the road’ ballads aimed at the younger, more impressionable generation. Even fun ‘children’s’ pop music, the likes of which our children and grandchildren listen to all the time, is not immune and is often riddled with overt, sexually explicit and satanic and occult lyrics.
Interestingly, a huge number of artists have commented publicly and even composed songs about literally ‘selling their souls’ to the devil to further their musical careers. Many well-known rock artists are well-versed in the occult and are aware that spiritual entities and multidimensional ‘demons’ can manifest themself through music of a lower vibrational nature. They have admitted that they use rock music and the rhythms, the lower guttural tones, and their insidious lyrics to lower the vibrational levels of concerts and thus their attendees. They have also even admitted countless times that they are possessed by their own music and have little control over where these vibrations lead them. This is typical of almost any satanic ‘ritual’ or practice; the lowering of consciousness and allowing lower vibrational entities to control a person. These practices often lead to complete loss of control and it was well known to the people at the last Woodstock anniversary concert that a form of ‘bad energy’ had manifested itself throughout the huge audience following many hours and days of extremely heavy, depressive and violent songs.
This information emanates from many sources; there have been many books written and several films made on the subject and many well-known artists have been exposed and even admitted themselves that this is taking place. However, the idea that rock music is a tool of the ‘devil’ has been pushed so relentlessly by religious leaders and evangelists that people are now more often likely to laugh at or mock the idea, rather than take it seriously. Nevertheless, well-known musicians are often reported as admitting to the practice of Satanism and their friends or colleagues will often mention that they have multiple personalities and that ‘what you see on the stage is not really that person’.
Unfortunately, rock and pop music has become mostly a grossly degenerative art form. Some musicians are exempt from this tag, but the music industry contributes to this view generally by actually enhancing and promoting the popularity of the ‘heaviest’ bands or the most emotionally depressing artists. The rock music of today is several magnitudes darker and more depressing than Led Zeppelin, Black Sabbath and other well-known ‘devil-rockers’ of past decades and at the time these bands were considered the very epitome of evil by the deeply religious. Heavy metal music has now become almost completely demonic per se and many performers revel in this fact, openly flaunting it. It is devolution of society and the art of music for the purpose of lowering the vibration of the consciousness in order to manipulate the youth of today into fulfilling the purposes of the Elite. It is, in short the next baby-step on the road to the complete undermining of human society and the human psyche in order to exert control over minds.
As I say, many artists are aware of this and some became aware of the fact that they have been manipulated by the music industry or began to recollect memories of their brainwashing, either through the military or through ‘handlers’ who often happen to be their manager. These are often the artists we know to have so famously died by ‘drug overdose’ or have suffered other strange deaths. Many of these artists have either confided before their deaths in individuals who would later relay this information to those behind the scenes in the music industry or indeed may even ‘go public’ with their knowledge as did Michael Jackson shortly before his untimely demise at the hands of his ‘doctor’. Jackson had been telling anyone and everyone during the period prior to his death that the CEO of Sony, Tommy Mottola (who by the way virtually owned Jackson body and soul, if not actually literally) was ‘the devil incarnate’. A metaphor or figure of speech? Maybe, maybe not.
The deeper that one delves into this murky pit, the more one realises that the ‘musical greats’ are often occultists with exceptional talent and who are intentionally using that talent to manipulate the consciousness of listeners. However, I also believe that many of the ‘household-name’ musicians early in their careers are lured into a subtle trap baited with money and fame but then once their handlers in the recording companies completely sink their claws and teeth into them, they realise that they are caught, with no possible escape route and thus are condemned to continue with their charade for the rest of their careers, which often ends prematurely for one reason or another. The premature end to musical careers can and does occur for several reasons. Obviously, there are some genuine cases of accidental drug overdoses, but I am equally sure that some of these are murders and some suicides. But in any case we should also then ask the question as to why drug overdose and suicide (murder?) is so prevalent among this group of people?
There is so much information on this topic that could be included, that to do it justice would really justify a book in its own right. The number of examples of the satanic nature of the entertainment business is truly staggering and so we will concentrate on a few specific examples and events, but please bear in mind that this is only the tiniest sliver of ice on top of the very tip of an extremely large iceberg.
Premature death seems to be an occupational hazard amongst so-called celebrities in all fields. Again there are many reasons for this, some of them even genuine ones, but there are also many suspicious ones, some of them extremely suspicious bordering on the blatantly obvious. As stated above, Michael Jackson would fall neatly into that particular category, as would Whitney Houston who died shortly before my writing of this article in early 2012 and as the most recent incidents tend to be the ones that are freshest in the mind, let us concentrate on that particular one.
“It’s a very predictable pattern that happens with all famous artists. They become valuable commodities. If they were shares, you would see Bay Street buying them up and fundamentally, it’s the realisation that it’s the end of the artist’s productivity, that they won’t produce anything more that sparks the buying frenzy.” Theo Peridis, professor of strategic management at York University
Regarding Whitney Houston’s sad demise (11th February 2012) and as with any other recently deceased ‘megastar’, it is a fact that the record company stood to gain massively in terms of vastly increased sales, albeit short-term. However how much better for them to have a short, one-off major boost than a long, lingering virtually profit-less demise to any artist’s career?
The 2012 Grammy Awards took place shortly after the sudden, mysterious death of Whitney Houston. As the old tradition would have it, the show went on nevertheless, but not without an abundance of strange symbolism and ritualism that made it extremely clear that there is a definite ‘dark side’ to the entertainment business.
Upon retrospective analysis of the facts surrounding Whitney Houston’s death coupled with the symbolic elements of the 2012 Grammy awards, the entire event has the look and feel of an occult ritual, complete with a blood sacrifice, a celebration and even a ‘re-birth’. Some of the things described below were pre-planned, while others were possibly just odd coincidences. Let us now examine the most significant events that happened during the fateful weekend of Houston’s death.
Whitney Houston’s untimely death is strikingly similar to many other celebrity ‘sacrifices’. Accounts of strange events before the death, the bizarre behaviour of the so-called authorities when the death was discovered, conflicting reports, the vagueness surrounding the cause of the death and last but not least, a typical response from the music industry via the Grammys ‘ceremony’. Her case indeed followed the same pattern as several other celebrity deaths that were blamed on drug excesses, despite much conflicting, albeit circumstantial evidence to the contrary. As was the case for other celebrities, the controlled media almost immediately began a campaign depicting Whitney as a hopeless drug addict. Maybe she was a drug addict, but if so, that is probably just a convenient side-issue, a symptom of the true killer of Whitney, ie. the much vaunted entertainment industry itself.
As with the recent cases of Michael Jackson, Amy Winehouse, Heath Ledger, Brittany Murphy and many others too numerous to mention, going back through the years, bizarre events both preceded and followed the death of Whitney Houston and after even a cursory examination of those events, it is impossible not to ponder as to whether her death (and the others) was truly an accident or a deliberate ‘sacrifice’ planned and undertaken by hidden hands? The majority of mainstream media sources have emphasised the drugs connection ad nauseum but several, more reliable sources have revealed other details that may provide evidence for an alternative view of the situation.
At the Beverley Hilton where Whitney Houston died, in the ballroom several floors below her suite of rooms at the time of her death, there was a ‘pre-Grammys’ party in full-swing. As the news broke regarding her death, Whitney was still lying there in her room in her fourth floor suite. She had been discovered dead in her bath, but it is unclear exactly by whom as there were several people in her suite at that time (3.50pm local time). Her body was not moved out until shortly before the party ended around midnight.
What has not been made public (at least in the mainstream) is that at around 11pm, paramedics were called again and security services and police also rushed to the scene and a medical-type wheelchair with restraints was also wheeled-in as Whitney’s daughter Bobbi Kristina had become hysterical and paramedics were on the point of removing her to the hospital. Why should this happen, at least seven hours after Whitney’s death? Very strange indeed.
Also, at 2.30am during the night immediately preceding Whitney’s death, a man in a 3rd floor room immediately beneath her suite complained that water was cascading into his room from above. This was no mere trickle this was a full-blown gushing of water. He called security and accompanied them upstairs to see for himself what on earth was going-on. According to this man, it was the bathtub that was overflowing but he noticed that a large-screen television had also been smashed.
Significant or not, neither of these incidents were reported by the mainstream media at the time or as far as I know, since the event and from an organisation that usually picks-up on the most trivial of incidents and blows them out of all proportion, I have to say I find that fact more than a little strange, to say the least.
So as it turned-out then, there was a party in full-swing going on three floors below Whitney’s body whilst it just lay there for hours on end. Is this not more than a little distasteful especially given the fact that many of the attendees were Whitney’s close colleagues and friends and acquaintances in the music business? Why was it not simply cancelled out of respect for her death or was there some kind of warped thrill to be had in partying-on below the dead body? Could it even have been part of some sick ritual or ceremony? It would not surprise me in the least, given the track record of these people.
Immediately before Whitney’s death, in another strange occurrence, she had been seen fraternising with a person who had also been hanging around Michael Jackson through his last few months alive and in the hours leading up to his death. This man goes by the name of Raffles van Exel (a pseudonym if ever I heard one). He apparently is from Amsterdam in Holland and has also been known to use the aliases of Raffles Dawson and Raffles Benson. He was present in Whitney’s suite of rooms at the time of her demise and apparently appeared downstairs in the hotel lobby shortly thereafter wearing aviator-type sunglasses and ostentatiously weeping and wailing. His usual entourage was there with him, including Quinton Aaron, a Hollywood B-grade movie actor and despite his terrible shock at Whitney’s death he still somehow managed to force himself to attend the party in the ballroom. He was bearing Whitney’s entry ticket in his hand when he entered the room to what was apparently an outpouring of sympathy, but obviously not enough sympathy to actually halt the party.
A security guard confirmed that Exel had been hanging around Whitney for a few days and was actually pictured standing behind her as she emerged from a nightclub earlier that week, looking confused and disorientated. So who really is this Exel character? He apparently was to be seen hanging around Michael Jackson and his family and friends during Jackson’s child molestation trial also. No-one really seems to know who he is for sure, but he is often seen and pictured around celebrities.
Exel claims to own several companies including Raffles Entertainment and also claims to be the manager of Chaka Khan. There are a multitude of photos of him on the Internet posing with almost everyone who is anyone. He apparently does not respond to any emails or phone messages to his published contact points and thus very much remains the archetypal ‘mystery man’.
So, was Exel an instrumental part in Whitney’s death in any way and had she become persona non gratis to the Elite’s music industry in some way? Was she becoming ‘out of control’ or ‘losing’ her programming perhaps? It has been reported that she had had premonitions about her own demise (where have we heard this before?) and shortly before her death she allegedly passed a note to her friend, the singer, Brandy who flatly refused to reveal its contents, other than to ambiguously state that ‘Whitney meant everything to me. She’s the reason that I sing’.
There is also an occult/numerology connection to Houston’s death, in this case a connection with the number 11. In occult rites the number 11 is a master number as it cannot be reduced and because it exceeds the number 10 (regarded as perfection) by 1, it is also linked to black magic and ‘bad vibrations’. Kabbalists tend to associate this number with transgression of the law, sorcery and possibly significantly, martyrdom.
It is also linked to sacrifice. For example, 9/11, the twin towers looked like a large number 11 and Remembrance/Veterans Day the 11/11 at the 11th hour. There is yet another link to consider and that is concerning Lady Gaga (another mind-controlled MK Ultra slave) and previous Grammy awards ceremonies. Gaga had close links to the fashion designer, Alexander MacQueen who was strongly involved with the occult and mind control and who himself died on the 11th February 2010, exactly two years to the day before Houston. Could it also be significant that Whitney Houston’s room number the day that she died, was 434 which in numerology equates to 4+3+4 =11. Again, certainly food for thought.
At the Grammy awards ceremony in 2011, Lady Gaga said, “I need to thank Whitney Houston. I wanted to thank Whitney, because when I wrote ‘Born this Way’, I imagined she was singing it because I wasn’t secure enough in myself to imagine I was a superstar. So, Whitney, I imagined you were singing ‘Born This Way’ when I wrote it.”
‘Born this Way’, surprise of surprises was released on the 11th February 2011, exactly one year to the day before Whitney’s death. Significant? Most certainly, I would venture to suggest. It is highly likely that Gaga (or more likely her controllers) in conjunction with Houston’s, planned it all very carefully. Gaga’s outfit for the 2012 awards was all-black, possibly symbolically signifying death?
Celine Dion was extraordinarily quick in apportioning the blame for Whitney’s death. During a TV interview shortly after the event, she blamed the bad influence of the industry and even stated the need to be ‘afraid’ of it and its over-reaching influence.
“It’s just really unfortunate that drugs, bad people or bad influence took over. It took over her dreams. It took over her love and motherhood. When you think about Elvis Presley and Marilyn Monroe and Michael Jackson and Amy Winehouse, to get into drugs like that, for whatever reason, is it because of the stress and bad influence? What happens when you have everything? What happens when you have love, support, the family, motherhood? You have responsibilities of a mother and then something happens and it destroys everything. That’s why I don’t do parties and I don’t hang out. That’s why I’m not part of show business. We have to be afraid. I’ve always said you have to have fun and do music and you can never be part of show business because you don’t know what it’s going to get you into. You have to do your work and get out of there.” Celine Dion
“I think we all, as artists, because we’re highly sensitive people and this machine around us, this so-called ‘music industry,’ is such a demonic thing. It sacrifices people’s lives and their essences at the drop of a dime … I had a manager once say to me, ‘You know you’re worth more money dead than alive’.” Chaka Khan
Are Chaka Khan’s references to ‘demonic’ and ‘sacrifices’, to be taken literally? Judging by the symbolism at the Grammy awards and the strangeness surrounding Whitney Houston’s death and that of many others down the years, it would certainly appear so.
Please understand however that the above events are just one example and one tiny pinprick on the finger-tip of the very large body of evidence linking show business to the satanic arts. Many, many artistes are said to be involved in this whole charade, many knowingly but nevertheless unable to escape its clutches for fear of the Michael Jackson / Whitney Houston experience befalling them and many unknowingly through subtle mind-control techniques as described previously in this book.
The presence of occult, satanic and Illuminati/freemasonic symbolism throughout the whole entertainment industry is rife, to say the very least.
During the 1950s and 60s, occult practices were slowly but surely absorbed into popular music and today the industry literally thrives by using an outward spectacle of occult and satanic rituals and symbolism. The entire music and entertainment industry is an important indoctrination tool used by and for the Elite and many musicians are introduced to Satanism and occultism. Today, the most popular musicians, such as for example, Lady Gaga and Britney Spears are totally controlled by the occult and the music industry and Hollywood are fixated by Black Magic and Witchcraft. Music has always been associated with the occult and can be effectively used as a tool for programming minds.
Satanism and the occult are also known to specifically extract energy from humans who are manipulated into trances. Throughout the twentieth century and now into the twenty-first, music has been manipulated from its initial state of innocence, goodness and wholesomeness to become in many cases, downright vile and nasty. Throughout the world many people, especially the 10-30 age range are listening to vacuous, emotionally-numbing and trance-inducing negatively-vibrational music and demonic lyrics, which at one time were uniquely present within heavy metal rock, but now seem to emanate from and be present in all genres.
‘Rock and Roll’ originally emerged as a defined musical style in the United States in the early to mid-1950s. It is descended directly from the rhythm and blues music of the 1940s, which itself developed from earlier blues, jazz and swing music and was also influenced by gospel, country and western and traditional folk music. Rock and Roll in turn gave birth to ‘rock music’ in general and over the last fifty years the individual musical genres have expanded greatly, presumably in order to cater for everyone’s individual tastes and ensure that no-one escapes the net.
It is extremely important to identify which types of music are harmful to the human psyche and which are negative. The vast majority of pre-1950s music calibrates in our consciousness as positive and positive consciousness in turn creates high levels of confidence and a healthy self-esteem. This cannot be said however of a vast majority of post 1950s music, especially from the 1980s onwards. Its insidious influence on our psyches has no doubt left its mark on us all to a greater or lesser degree and there is no doubt that certain songs, artists and lyrics contribute in some way, however large or small, to the huge increase in suicide among the under 25 age groups, which stands at record levels and is no doubt welcomed enthusiastically by the Elite in line with their stated policy of huge population reduction.
Indeed, music has a very strong, very definite physiological and psychological effect on people, especially the more impressionable among us. Disharmonic, discordant and cacophonic music engenders a number of negative behaviours, although those affected are often unaware of the extreme effect it is having upon them.
When Mick Jagger of The Rolling Stones wrote the song ‘Sympathy for the Devil’, in the 1960s, this was one of the first examples of Satanism in rock music. To many observers, the occult and Satanism began to expand its influence through such bands as Led Zeppelin and even the Eagles a band which is generally regarded as being ‘soft’ rock oriented. And so the Elite now performs its satanic rituals upon us all, via our favourite musicians and through all the dozens of pop music TV channels that exist today and also their contrived, highly ritualistic awards ceremonies in front of millions of deluded viewers.
The American researcher and author, David McGowan in his serialised Internet story, ‘The Strange Story of Laurel Canyon’, relates how most of the popular musicians and entertainers in the 1960s had some connection to the American military and thus to the myriad of intelligence networks. He tells the totally credible story of how these artists were ‘artificially’ brought to prominence at this time and describes the strange goings-on around the music scene in those days and the insidious influence that these people and their suspect connections had on the music of that period and henceforward from that time.
In 1985, the New Solidarity newspaper, which has since been closed-down by the US federal government, conducted an interview with Hezekiah Ben Aaron, who at the time was the third-ranking member of the Church of Satan. In this interview, Aaron revealed that it was his ‘Church’ that started such heavy-metal genre rock groups as Black Sabbath, The Blue Oyster Cult and many others. The Church of Satan was then headed by its high priest, Anton LaVey but many people believe that LaVey, was just a front man for the real high priest, Kenneth Anger, the man who had been responsible for introducing the Rolling Stones to the occult.
It is a fact that the human brain thinks at a rate of approximately eight thoughts per second and that the eyes see 20 to 30 separate actions per second, but the brain only uses eight of these to send to the conscious mind. The subconscious absorbs the rest, subliminally and indiscriminately.
However, most live musical performances incorporate video screens with their music at 30 frames per second at the standard American television resolution but they colour eight of the 30 frames differently. They choose which ones we think consciously about and which are just subconsciously absorbed as programming. Hollywood has used this trick, invented originally by Disney, for many years. It is now illegal in television commercials and regarded as subliminal advertising, which, as most people know is an extremely powerful conditioning tool.
The ‘eight per second’ frequency is also used by bass tones or bass drums or lights or all together, in a concert or live-show setting and this has the same effect upon the brain as does hypnosis. That is it fragments analytical thoughts so that certain mispronounced or difficult to understand lyrics are immediately absorbed by the subconscious mind. If we then add in a mix of illegal drugs and fake (or even real) sacrificial blood, create a circle with a pentagram using the stage lights and positions of the musicians within it, place large speakers in strategic positions for 13 separate points of origin of musical sound, altogether this constitutes a bona fide ‘Black Mass’ replete with ‘sacred geometry’.
So we have now seen how pop culture is filled with occult and masonic symbolism. The Illuminati symbolism apparent in Gaga’s stage and TV appearances is utterly blatant and is becoming so transparent that analyses almost become a simple statement of the obvious. Her whole persona, whether it is an act or not, is a tribute to mind control, freemasonry and the occult where being vacuous, compliant, incoherent and simply absent-minded is manipulated into being a ‘fashionable’, desirable state.
Incorporated in the videos, photos and shows of Lady Gaga and many other pop icons, is symbolism that refers explicitly to the Elite and to mind control. This symbolism is deep, esoteric and even pseudo-spiritual and whilst millions of young people imitate Gaga’s gestures, her act is part of a much bigger picture that includes many other ‘stars’ displaying and promoting the same overt symbolism. ‘Lady Gaga’ is in fact a fake persona, a manufactured Illuminati puppet, created to unduly influence the impressionable youth of today and to indoctrinate them into the insidious ways of the Elite. In this she is not alone, by far the vast majority of the mainstream music industry is also under their deceptive spell.