This installment shall concern an intriguing yet no less transparent story most recently featured by mainstream news sources.
One shall endeavor to examine the recent alleged “death” of rapper XXXTentacion, the twenty-year-old late rapper allegedly slain outside of a motorcycle dealership in Deerfield, Florida on June 18.
Many – to whom this blog has become a sanctuary of not only free and alternative thought, as well representing an oasis of psychological, sociological, and historical examination of both contemporary and events belonging to a distant antiquity – shall no doubt have considered that the alleged death of “rapper” XXXTentacion was indeed a hoax perpetrated by the corporate owned, mainstream and alternative media controlled via proxy through the global intelligence octopus (specifically CIA), featuring a character portrayed by yet another Hollywood connected host actor.
The genuine question remains – who was the target of this particular psychological operation? But, perhaps there are other considerations which loom more paramount – why, and to what benefit or profit?
First, allow one to dispense with the numerological breakdown, as this event, like many other manufactured mainstream news reports, was rife with the usual masonic markers:
Deerfield, Fla. (location of alleged drive by shooting): ee=33/highest degree of Scottish Rite Freemasonry
Date of event: June 18/6=33/18=666
XXX: 72/7+2=9/Satan’s #=6/occult mirror reversal/33
And then, there are the following details provided by the network that broke the story, TMZ:
6:00 (33) PM PT: The Broward Co, Sheriff’s Dept. tweeted (law enforcement tweeting before the conclusion of an official investigation, folks? – not a chance!) is offering a reward of $3000 (33) for anyone who might have a tip that leads to an arrest in the XXX shooting.
4:07 (11/masonic master’s apprentice) PM PT: The sheriff’s Dept. just released a statement saying XXX was approached by two armed suspects as he left the dealership. They say at least one of the suspects fired their gun, striking XXX. Cops say they believe the incident was a possible robbery.
2:40 (6=33) PM PT: Broward Co. Sheriff’s Dept. says XXXTentacion has been pronounced dead. (In the way of proper and legal and police procedure, this is a red flag. Only an official coroner or equivalent medical personnel can legally be allowed to officially pronounce the status of the deceased.)
Now, with that analysis out of the way – does one recognize this young actor?
Yes, folks, meet Jaden Smith, AKA “the late” XXXTentacion.
The meticulous planning of the ruling elite Jesuit families revolves around commerce, and what better way to stimulate business than to hold the masses psychologically captive with a widely promoted, tragic human interest story rife with crime, death, controversy, and featuring the tortured soul of a young artist as captivating centerpiece?
Therefore, one must divorce oneself from such dramatic emotional attachments, and to get to the heart of this story, one must follow the trail of dollars. And, the first place one looks is Carolina records, the recording label the late artist in question was allegedly and contractually bound. Carolina records has a direct, contractual relationship to EMPIRE distribution, which just two years ago, announced it would be entering into a multi-year deal with Universal Music Group, which in turn is owned by Vivendi, the mass media conglomerate headquartered in Paris, France.
EMPIRE is an independent music distribution company founded by West Coast-based music executive Ghazi Shami and is headquartered in San Francisco, California. What differentiates EMPIRE from other music companies of its type, is that it specializes in almost exclusively exploiting the potential of utilizing digital technology as a delivery device of musical product directly to the general public, rather than through the traditionally-based distribution channels provided by chains of brick and mortar stores.
Most recently, EMPIRE released XXXTentacion’s album “17” (8/aces and eights intelligence code/mark of the Jesuit order), which by virtue of placing at number two on Billboard’s 200 charts, placed Shami into the forefront of executive, music industry decision makers. Following the success of that release, Billboard saw fit to honor the young executive by naming him as one of the Hip Hop genre’s Power Players. The best feature of EMPIRE’s contractual agreement finalized with Universal in 2016, however, is its non-exclusivity, meaning that the company, should it choose to do so, can seek to work with other companies in the music industry outside of the purview of Universal Music Group.
Hypothetically speaking, considering the favorable terms and conditions of EMPIRE’s contract with UMG, would it not have been profitably beneficial, and considering the motivation of vastly increasing the company’s market share and drawing public attention to its digitally driven music distribution platform, to stage the tragic death of one of its rising stars?
After all, nothing sells like a dead rock star, with the possible exception of a dead rap star, right folks?
And let’s not forget folks, TMZ, the tabloid news network that initially broke the story, UMG, and its parent, corporate umbrella, Vivendi, all operate under the identical corporate and global structure monopolized by the thirteen ruling elite Jesuit families.
Increasingly, the media sorcerer’s psychological operations have become more transparent – to the point of utter juvenility. Nevertheless, the media’s most recent reports involving young music artist XXXTentacion were most illustrative, and perhaps even instructive in the way one was able to observe and almost completely peer inside the anatomy of a media hoax with great clarity.
However, the death of this music “star” differentiated from others promoted and mythologized in the past in one significant way – death alone served to launch the artist in question from complete obscurity to global notoriety seemingly overnight.
In the case of so-called rock star deaths in the past – those of Jim Morrison, Jimi Hendrix, Janis Joplin, Bon Scott, Freddie Mercury, David Bowie, Chester Bennington, Chris Cornell etc. etc. – there existed a significant body of work and acknowledged accomplishment within the industry before the “deaths” of their characters were engineered, a firm foundation upon which to erect a legendary, and commercially profitable monument.
Comparatively speaking, this did not seem to be so in the case of the young rapper, XXXTentacion.
In the case of this young artist, there existed only the purported potential of artistic and commercial success within the industry before he was tragically – or so the mainstream media claims – shuffled permanently off the mortal coil.
Most recently, none other than Sean “P. Diddy” Combs, the legendary Hip-Hop record producer, entertainment impresario, and discoverer of the late Chris Wallace, AKA the Notorious BIG, went on record to offer praises to the tragically slain XXXTentacion, stating something to the effect he thought the artist, had he lived, could have eclipsed the accomplishments of the “late” Tupac Shukar.
If one were to judge merely from the source of the laudatory comments, accompanied by a mere cursory listen to the “song” that allegedly evinced interest from music industry heavyweights – both from popular artists and those in executive, decision making positions – such an extrapolation seems dubious indeed. After all, is there anyone who would mistake P. Diddy – given the rather execrable value of his own artistic production – for Leonard Bernstein or even Quincy Jones in his definitive evaluation of artistic merit?
The clue here to the fact XXXTentacion was merely a character produced for likely ulterior purposes was that his notoriety or as they would term in the industry, “buzz,” extended from a single debut recording entitled “Look at Me,” which had been uploaded to Soundcloud:
Even by the standards of Hip Hop, the aural production quality of the song featured in the video above is rather crude and rudimentary, making it difficult to comprehend why this recording and its rather garbled and even lackluster performance would have stimulated the attention of any major recording executive. But what strikes one perhaps more than this – that is if one strains their auditory senses to discern the artist’s lyrics – is the militant nihilism, blatant solipsism, insouciant narcissism, and the artist’s brutally cavalier articulation of violence against women and all others who aren’t willing to “look” at him.
Truly, the so-called gangster rap of Ice Cube, NWA, Pubic Enemy, and Schooly D, those artists belonging to an earlier era during Hip Hop’s commercial infancy, seem almost tame by comparison. With those artists, at least the palpable nihilism inherent in the delivery of their recorded output was seemingly tempered by some legitimate, and even in some cases, articulate poignancy regarding the social and economic realities of American urban life.
XXXTentacion – on the other hand – represents merely one in a long line of “artists” regurgitated from the bankrupt, but cynically calculating mindset presently dominating corporate boardrooms and thoroughly marketed to generations of the mainstream, popular music listening public that, over a period of decades, has been gradually and assiduously desensitized to what has now, in the 21st century, degenerated into nothing more than aural excrement dressed up in shiny packages, the questionable merits of which are then ridiculously trumpeted by the slick marketing proffered from the corrupt offices of a mainstream music press who would likely promote the recording of pure flatulence if incentivized by the requisite remuneration.
Clearly, the hidden puppeteers behind the entertainment industry have now chosen to dispense with the façade concealing the fact the “artists” they select to promote are nothing other than purveyors of Tavistock designed social engineering disguised as commercial properties. With the promotion of the short lived career of the “artist” known as XXXTentacion, one has managed to formulate a working theory as to the approximate purpose of his sudden emergence. While Tavistock is certainly part of the equation, the other variable is the CIA, who for decades has had a controlling hand in not only Hollywood and television and radio, but also the music industry. If one is still doubtful regarding this fact, perhaps clicking this link will begin to convince:
Granted, while the CIA has provided what could be termed yet another “limited hangout” regarding the extent of its true involvement in the entertainment industry beyond those concerns of preserving the so-called integrity of the agency, one can be certain their reach extends much further.
Of course, one would not expect those at the agency to address or confirm the extent of their control over the mainstream and alternative media, given that, if the general public were to become more aware of just how pervasive the agency’s influence might be, such a discovery would not be in their best interests. Since its official inception in 1947, the purpose of the CIA has never been to protect the interests of the American people. Rather, its general purpose was, and is, to preserve the integrity of the global commercial system they’ve been sworn to protect at all costs.
Rolling Stone proclaims the arrival of a “global star”
The contention that XXXTentacion was globally renown prior to his “death” seems to have become generally accepted. But if one examines the facts culled from mainstream sources, this contention becomes immediately dubious. Per Rolling Stone, one of the nation’s premiere periodicals and along with Billboard magazine, historically considered to be the bible of music industry news and information, only 20, 000 physical copies of XXXTentacion’s debut CD were reported to have been sold subsequent to its nationwide release. And yet, on March 25 (3 7’s/777/intelligence joker code) of this year, Rolling Stone reported the artist’s debut album, entitled ?., to have scaled the Billboard 200 to the number one position, beating out industry heavyweights Metallica.
However, the following quote drawn from Rolling Stone’s article of March 2018 may best underscore one’s premise as to the true motivation behind publicly staging the young artist’s death. And one cannot stress this fact enough – it all has to do with stimulating commerce – specifically stimulating commerce for what stands to be the music industry’s newly solidified business model going forward into the 21st century – SEA’s, or the streaming of digital music:
“XXXTentancion captured the first Number One album as the troubled Florida rapper’s ? debuted atop the Billboard 200. ? sold 131,000 total copies in its first week of release. However, only 20,000 of those copies were from traditional album sales, while 106,000 were the result of streaming equivalent albums, or SEA’s.”
What is perhaps more evident here, is that by transitioning to the new business model format of digital downloads or SEA’s, the music industry will have a much easier time in manufacturing (or as John Lennon once put it, “fiddling the charts”) the popularity and notoriety of its so-called artists. In the music industry, as in every business, perception is too often conflated with reality. If the public – particularly the targeted and impressionable demographics of those music fans aged 13 to 25 more prone to the power of suggestion – perceives an artist to be “the next big thing,” they will be more likely to purchase the artist’s music and become psychologically attached to the corporate brand.
This also means that major recording companies no longer have to spend millions for marketing costs in wooing radio programmers for “spins” during prime time advertising blocks in major markets or absorb the exorbitant costs of producing and maintaining the more traditionally-based and physically anchored marketing merchandise. And, with the demand of digitally delivered SEA’s growing among demographics of young music fans, there is no longer a need for major recording labels to stringently regulate the distribution of physical product to brick and mortar record stores. Instead, they can pass on some of the same shipping costs normally associated with the distribution of physical product and apply them to the digital market, thus achieving their goal of increasing profits by turning the liability of financial risks into more certain market gains.
In addition, the brand of “music” created by “artists” such as XXXTenteacion, as compared to other genres requiring extensive instrumentation and elongated production schedules, is relatively inexpensive to record, produce, and with the newly formulated digital SEA distribution formats, distributed with greater ease, absent of shipping and other mechanical costs normally associated with traditionally based music distribution channels.
What does this mean for the future of popular music?
As the traditional business model of the music industry crumbles into dust, the newly formulated business format of SEA delivery and distribution will mean not only greater profits for the industry, but greater control than ever before over choosing what artists will become stars, and which will continue to suffer in relative obscurity, not to mention the ease with which major music recording corporations will, in future, be able to collect and more accurately track reams of personal data culled from various sales demographics, allowing for greater and profitable exploitation.
In fact, going forward, the industry has certainly foreseen – what with the rapid development of digital and VR technologies such as 3D holograms and voice, music synthesis software – they will eventually no longer require the need for a physical artist to develop, sell, and maintain the ongoing profitability of a star making brand.
On the other hand, and for the time being, with the ease of digital distribution and with greater access to more inexpensive digital recording and distribution, independent artists need no longer bother ingratiating themselves to industry executives or become enslaved to the unfavorable terms and conditions of corporate contracts to establish and perpetuate their careers.
Starting with a modest base of raw capital, and sales of a mere 20,000 units resulting from the wherewithal of digital marketing savvy, an independent artist can have a viable career without the hassle of living up to the slavish terms and conditions set down in a traditional, corporate based recording contract. With digital technology as an ally, an independently minded artist can now carve out their own niche in a newly shaped digital market and forever dispense with the pressure of having to sell a million units just to break even on what is essentially tantamount to taking a loan from some behemoth corporation working under the now antiquated business model.
But, is there in fact more to this story than just commercial considerations?
The answer would appear to be affirmative, for in addition to satisfying paramount commercial considerations, there is almost always an underlying social or political agenda to be uncovered when it comes to the production and public presentation of mainstream news stories in the post-modern era.
Before the reporting of his alleged death, the mainstream media made much of the young artist’s legal troubles, specifically his arrest for the alleged brutal assault of his pregnant girlfriend. Per most established accounts – Rolling Stone, Billboard, etc. etc. – XXXTentacion had been placed, via court order, under house arrest in early 2018, but was then, inexplicably, allowed to tour in promotional support of his latest album.
Additionally, TMZ network (and one may want to employ a pinch of salt for anything reported by this “tabloid” network) reported that after being released from house arrest for domestic violence, despite awaiting trail for outstanding charges connected with one dozen (12/21/777/intelligence joker code) other felonies including jury tampering, the artist was allowed to shop for a motorcycle while being allowed to operate a motor vehicle?
Not only does this scenario appear to have been completely contrived, its spurious nature is downright insulting to the public’s intelligence.
These details of the story, more than perhaps any others, are the telling components that this entire account is utter nonsense, and that indeed, the character of XXXTentacion was portrayed by a host actor. One does not need to have been educated at Harvard Law School to determine that such legal exceptions would or could not have been made for one so indicted and convicted, given the severity of the alleged felonies in question.
Most likely, this entire legal scenario was cooked up by the artist’s promotional department to lend the requisite “street credibility” to the character. After all, is there a single fan of Hip Hop now living who wants the artists they adore to have been known as Samaritan Boy Scouts, selling cookies door to door, rather than wielding a loaded weapon while posing in a contrived stance of sneering bravado? No, folks, this is what is known as image and brand building, based on the conditioned expectations of the targeted commercial demographics.
But, therein lies the larger sociological issue, making the continued and contrived popularity of such “artists” problematic. This is the sort of nihilistic generational conditioning created by the social engineers at Tavistock and Stanford Research Center which serves multiple purposes:
1.) Endeavoring to imbue impressionable population demographics with constant reflections of nihilistic behavioral archetypes – of the type most likely to consume Hip Hop musical stylings and also adopt its lifestyle accoutrements – desensitizes such population groups to anti-social fragmentations, which in turn dangerously glamorizes sociopathy, elevating it the level of social acceptability. 2.) The social engineers are well aware the continued promotion of such sociopathic behaviors (alcoholism, drug abuse, expressions of nihilistic violence) through mainstream media channels, particularly the music industry, feeds into the profitability of the mental health and pharmaceutical complex, as well the private prison industry. 3.) There is also the racial component, in that widely promoted demonstrations of sociopathic behavior through mainstream media channels keeps the population divided along racial and socio-economic demographics.
In sum total, the social engineers have endeavored to create a global society of the weak, the psychologically demoralized, and the dependent, and if objective analysis has demonstrated anything, it is the fact populations that are systematically divided, as well psychologically and physically weakened, are not capable of protesting and fighting back – much less possessing the intellectual acuity to identify the true source of their social maladies – against their oppressors, and hence, existing in a perpetually dependent state, are continually susceptible to government manipulation and ultimately total control.
RFID Tattoo is in your children’s future
But that is not all folks, because with the promotion of “stars” such as XXXTentacion, Lil Peep, and others to impressionable population demographics, there is additional social programming to be considered that is perhaps more sinister yet still.
Has one never noticed these “artists” seem to be overly decorated with epidermal tattoos? This is no coincidence folks, for the social engineers are also cognizant of the fact that mass behavioral modification programming becomes that much more effective when accompanied by the promotion of material and fashion accoutrements. It just so happens that in the very near future, the ruling elite families are planning to institute RFID tattoos as a prime method of personal identification, in lieu of physical licenses, passports, and ID cards.
Believe it folks, because there is always a very calculated method hiding behind the overt madness that is constantly promoted by the ruling elite, Jesuit families through the conduit of their mainstream media and music industries.