Mythmaking is the stock in trade of music industry executives and the music business in general. When a popular musician or professional entertainer is labeled as iconic by critical consensus, the net worth of their recorded discography as commercially viable product becomes exponentially more valuable as marketable merchandise. The making of the legend known as ‘Bob Marley’ resulted from an expedient alliance of quasi-religious sociopolitical propagandizing, meticulous packaging, and clever marketing.
Though Marley never had chart topping success in America during the span of his entertainment career, there still exist legions of latter-day hipsters, fraternity boys inhabiting American college campuses from coast to coast transforming their dormitories into ganga-soaked shrines dedicated in loving memory to the Rastafarian reggae master, altars where Marley’s holy image is worshipped with cult-like devotion. Undoubtedly, those gathered among the congregation of the church of Bob Marley, those who’ve fallen hapless victim to a carefully managed social engineering, psychological conditioning program directed from the top down by intelligence agencies such as MI6, MI5, FBI, CIA, and financed by City of London/Vatican/Swiss bankers, will be the first to desperately shout protestations of sacrilege in response to any attempts in thoroughly dismantling the cherished legacy of their sacred demigod.
After all, who relishes to be informed that their heroes are imposters or that they’ve fallen prey to a cruelly deceptive illusion perpetrated by those in hegemonic control of a vast and resourceful media machine utilized to bring a grand agenda to fruition far beyond their limited conception?
Painful as the following news might be to those with such delicate, sentimental sensibilities, ‘Bob Marley’ was merely another media-generated image, a key component in a grand confidence game’s execution motivated by an ulterior but hidden agenda, a well manufactured character scheme publicly identified by a pseudonym belonging to a talented, professional jokester, a Hollywood actor and stand-up comedian who didn’t emanate from Jamaica, a British Empire Commonwealth Nation recognizing Britain’s sitting monarch, currently King Charles III, as Head of State. Speaking of King Charlie aka Keith Richards of the Rolling Stones, both he and Mick Jagger, Charlie’s royal family relation Prince Michael Duke of Kent (aka Max Igan) in disguise, were fans of Bob Marley and worked professionally with former Marley bandmate Peter Tosh, whose surname is also common British slang used to describe nonsense or rubbish. Turns out, that’s an appropriate term to describe the fallacious story of Bob Marley – an utter load of tosh.
MANUFACTURED MARLEY’S MONEY MEN
Though one’s investigation navigated a course which somewhat deviated from the path taken by others who’ve published research on this particular subject, it did, however, lead towards connections with some usual suspects and familiar perpetrators – not only to royalty and to City of London banking, but to Disney, to Hollywood’s RKO pictures and to family relations of RKO financier Joseph P. Kennedy, patriarch of the notorious whiskey boot legging fake American political dynasty. In fact, the stand-up comedian discovered behind the mask of Bob Marley co-starred in several Hollywood films with Gene Wilder (aka Sir Anthony Hopkins/Lee Harvey Oswald/Merv Griffin/Phil Donahue), one of British/Hollywood actor Sir Anthony Hopkins’ modified character schemes.
Before Sir Anthony Hopkins aka Wilder, the hidden son of Bing Crosby (aka King Leopold III of Belgium), was knighted by the British monarchy, both he and his hidden royal father were respectively busy playing their scripted roles – JFK “assassin” Lee Harvey Oswald, CIA director, Warren Commission chairman Allen Dulles – in the JFK assassination hoax, a mass media psychodrama which took place in late November of 1963. Interestingly enough, 1963 was the very same year that Bob Marley’s first songs were recorded in Kingston, Jamaica, at an ice cream parlor/recording studio owned by Leslie Kong, who went on to become a founding partner of Island records with Chris Blackwell in 1959.
According to legend, Marley was brought to Kong’s attention in the early 1960’s at the behest of Jimmy Cliff. As the story goes, before becoming one of reggae music’s biggest superstars, the then upstart Cliff was signed to a recording deal after being ‘discovered’ while singing outside of Kong’s Kingston ice cream parlor, Beverley’s, at closing time. If you believe that, pull the other one with bells on it because that’s a story echoed from straight out of golden age Hollywood, when it was rumored that both Lana Turner and Ellen Drew were discovered by Paramount and Warner Brothers’ studios while working at ice cream parlors.
While Marley’s first recorded tracks, including ‘Judge Not’, were commercially released on Kong’s Beverley’s independent record label, his surname was misspelled on the record jacket, appearing as Robert Morley, a name synonymous with a fey British movie actor who, along with Chris Blackwell’s paramour, Jamaican actress/model Esther Anderson, appeared in the 1965 film Genghis Kahn. Kong’s Beverley’s recording studio regularly employed Toots and the Maytals, a seminal group of Jamaican reggae artists, as its house band and brain trust of creative studio musicians. Toots and his band of minstrels served Kong in much the same workmanlike manner as did the famous Wrecking Crew for the eccentric boy wonder American record producer Phil Spector, in that they appeared and performed on most if not all of the recordings on which Kong is credited as producer.
Want to bet it was Toots and the gang who also composed and arranged most of Marley’s best-known hits?
Kong was educated at Saint George’s College, a Jesuit founded private school exclusive to the children of the well-heeled. Before his untimely death due to a heart attack in August of 1971 at the age of 37, Kong released a compilation of songs recorded with Marley’s first group, the Wailers. Wikipedia claims that Marley’s bandmate, Bunny Wailer, vehemently took issue with Kong’s plans to make the record commercially available and threatened him with a Jamaican voodoo death curse. This particular anecdote published by CIA’s band of prevaricators at Wikipedia appears to be a deliberate attempt to spice Marley’s story up with manufactured melodrama. Or perhaps better to say – as the British would put it with their amusing brand of cockney slang – Wailer’s voodoo curse narrative is another load of tosh.
Notice anything suspicious about Kong’s age at the time of his death: 37=3 7’s or 777, Alistair Crowley’s intelligence joker code?
Needless to say, it didn’t take long to discover that Kong’s Island records co-founder Mister Blackwell and his family were also associated with influential friends who inhabited elevated if not stratospheric political and social positions, including royalty. Educated at royally chartered elite boarding school Harrow, while still quite young, Chris Blackwell was made an aide de camp to Jamaica’s royal governor, Sir Hugh Foot, Lord Caradon, a freemason awarded prestigious military Orders of Saint Michael and Saint George who was also Britain’s diplomatic representative to the United Nations and the last governor of British Cyprus. Blackwell’s family were the owners of Crosse and Blackwell, a prominent British food company which, before it was acquired by Swiss Nestle, received royal appointments and royal court warrants from King’s George III, George IV, William IV, and Queen Victoria. Several generations of the Blackwell’s maternal line, the Lindo family, included sworn brokers and bankers at City of London’s Crown Temple. After solidifying his reputation as one of the music industry’s top executives, Blackwell became the owner of Goldeneye, a fifteen-acre estate in Oracabessa which was the former residence of MI5/British Naval Intelligence agent, Alistair Crowley acolyte, and James Bond author Ian Fleming who, according to Wikipedia, was involved in a life-long romantic tryst with Blackwell’s mother, Blanche.
The nature of the official logo of Blackwell’s Island record label is rather curious, featuring the occultic all-seeing Eye of Horus.
Perhaps it is also not so surprising to discover that a logo associated with one of the other recording labels Bob Marley was signed to and recorded for, Tuff Gong, also features occult symbolism, in the form of a six-pointed freemasonic sacred geometrical star containing a lion, a solar-oriented symbol signifying Luciferian enlightenment.
Blackwell’s family underwent a religious conversion from Judaism to New Christianity, a Vatican counter-reformation movement begun in the sixteenth century by Saint John of the Cross, a Jesuit educated friar and Catholic mystic. With initial financial backing from RKO’s Stanley Borden, Blackwell went on to produce Marley’s first and last albums, Cath a Fire and Uprising. While Marley’s recordings never achieved significant chart positions in America and none of his singles made playlists in major American FM radio markets, they charted high enough in England and in other countries overseas to raise the profile and prestige of Blackwell’s Island recording moniker. According to his published memoir, The Islander: My Life in Music and Beyond, Blackwell, accompanied by Andy Warhol (aka Hollywood actor Dennis Hopper/JFK/Roger Daltry) and pop/rock singer Robert Palmer, scouted out Talking Heads at New York’s CBGB’s nightclub during the 1970’s in an effort to sign them to his label.
Though Blackwell didn’t succeed in acquiring Talking Heads for his stable of music industry stars, Island recording artist Robert Palmer went on to front Power Station, which also featured Andy and John Taylor (aka Charles Alden Black Junior/Steven Tyler/Freddie Mercury/Chris Cornell/Tony Blair) of 1980’s MTV era hitmakers Duran Duran. Duran’s longtime frontman, Simon Le Bon, is the hidden son of actor Sean Connery, best known for being cast as Ian Fleming’s 007 spymaster James Bond, and the hidden family relation of 1990’s pop star Justin Timberlake.
Connery was cast in a movie co-starring Michael Caine – SEE: Writing Off the Counterfeit Asimov – called The Man Who Would Be King, which was larded with freemasonic symbolisms and masonic references. At approximately the twenty-one minute mark of the film, both Caine’s and Connery’s characters explain the method of operation used by City of London/Vatican Swiss bankers targeting developing countries divided by civil strife for economic exploitation.
“It’s a place of warring tribes, which is to say – it’s a place of opportunity,” Caine’s character says. “We’ll go there,” replies Connery’s character. “We say to any chief we can find – you want to vanquish your foes? We’ll fight for him – make him king then subvert him. We’ll seize his royal throne and loot the country four ways to Sunday.”
This is precisely the scenario under which Jamaica was suffering during the rise in popularity of the artist known as Bob Marley. The City of London/Vatican Swiss bankers, aided by British intelligence, subversively used Marley to distract the warring political factions controlled by banker financed political puppets from ever finding out that, while swept up in the inexorable tide of political strife, atomization, Jamaica’s fragile economy was buckling under increasing piles of debt owed to the IMF (International Monetary Fund) and its precious natural resources were being systematically looted for profit.
John Taylor aka Charles Alden Black Junior is the son of Hollywood child star Shirley Temple Black (aka Jackie Kennedy/Marilyn Monroe/Judy Garland/Doris Day/Debbie Reynolds/Dinah Shore/Helen Thomas/Madeleine Albright/royal lady in waiting Jean Woodroffe). Just like the actor/comedian identified in portrayal of “Bob Marley”, both mother and son in Hollywood’s Black family became willing if not serial perpetrators of Post-Modern Reality Simulation.
SEE: Hollywood Actors Recycled into Runaway Rock Stars
As for the Island recording artist known as ‘Robert Palmer’, image comparison, ear biometric, and facial recognition analysis indicate that Palmer was yet another among the vast repertoire of character schemes portrayed by Grand Duke Henri of Luxembourg (aka David Bowie/Pierce Brosnan/Richard Carpenter/Richard Chamberlain/Howard Stern/Perry King/Jack Wagoner/David Koresh).
SEE: Duncan the Death Hoax Director Doc Kildare Promotes Kill Shot Propaganda
Below in succession: Island recording artist Robert Palmer, Grand Duke Henri of Luxembourg
During the 1970’s, Blackwell’s Island film division produced a movie, The Harder They Come, starring Jimmy Cliff, the man credited with drawing Leslie Kong’s attention to Bob Marley. That film is now owned by Shamrock Holdings Inc., the private equity firm belonging to the estate of the Walt Disney Family and held in trust by Roy E. Disney. That a business connection between Disney and the film division of Bob Marley’s recording label was discovered isn’t perhaps so surprising. Somehow, eventually, Disney seems to get their grasping, greedy, and insatiable hands around everything, don’t they?
FAKED DEATH SCENARIO
Reportedly, on December 3, 1976 – make a note of that date: December (12th month/2+1=3+3rd day=33, highest degree of Scottish Rite freemasonry) – a mere two days before Bob Marley was scheduled to perform at Smile Jamaica, a free outdoor music festival organized by Jamaica’s then Prime Minister Michael Manley to ostensibly calm tensions between the country’s warring political factions and to restore order after outbursts of civil unrest, Marley was alleged to have been attacked and shot in his home by an unknown assailant and to have suffered wounds both to his arm and to his chest.
There are problems with this mainstream media account.
First, since when did Prime Ministers become concert organizers, promoters – shouldn’t they have better things to do such as running the country? There’s only one explanation for this. That is, PM Manley was merely a ceremonial puppet with a title attached put into office to take orders from on high. Manley wasn’t running anything or making any executive decisions because Jamaica is a commonwealth nation of the British Empire (the Roman empire that never died known by another name), a crown corporation operating under the umbrella of City of London’s Crown Temple. The other problem is that during an interview which took place in New York City with journalist Gil Noble in 1980, when questioned regarding the alleged shooting at his home and as to where exactly and into which of his arms a bullet had been lodged, Marley appeared rather confused.
At approximately 17:43 in the twenty-six-minute video found on You Tube, Noble asks Marley, “Where were you hit?” With a somewhat dazed look in his eyes, Marley oddly pretends not to have heard or understood the question which is repeated by Noble. This is when the proceedings started to go wildly askew. As observed in the screenshots taken from the video and posted below, appearing increasingly more confused, as if caught off guard, Marley seems momentarily incapable of deciding into which of his arms a bullet had been shot. First, Marley points with his finger towards a spot midway up on his left arm before comically lifting up his right to gaze bemusedly at his elbow.
Could it have been that excessive smoking of Jamaican ganga before sitting down for the interview with Noble contributed mightily to Marley’s puzzled state of mind?
After some deliberation, Marley decides he was right the first time and again gestures tentatively towards the spot on his left arm to which he had pointed a moment previously.
Why Noble didn’t follow up to enquire as to Marley’s obvious and utter confusion is anyone’s guess. More mysterious still is how he managed to avoid breaking out into raucous laughter in response to witnessing this rather farcical episode.
Inconceivably, things got even stranger during Marley’s interview.
At 18:05 in the video, the actor behind Marley’s persona noticeably breaks character, stunningly abandoning his Jamaican patois affectation. While answering in a very flat, formal tone, Marley’s diction begins to resemble a witness coached beforehand by an attorney appearing at a legal deposition. Noble’s question posed to Marley at this juncture in the interview concerns the fact that there were no suspects apprehended or charged in the armed assault alleged to have taken place at his home on December 3rd of 1976.
“…You never saw the gunman?”
“Not at that time, no,” Marley replies, sans Rastafarian Jamaican accent.
Though admitting he never saw the alleged gunman and couldn’t credibly offer a description of the suspect, with Marley’s Jamaican patios magically returned, he blurts forth that he nonetheless knew who the suspect was but inexplicably didn’t wish to press any formal charges. Maybe Marley didn’t wish to press charges because the entire shooting incident never took place. Marley’s shooting scenario was a thoroughly staged piece of freemasonic theater designed to make headlines, an effort to better promote Marley’s concert appearance scheduled for December 5th with a fabricated emotionally manipulative drama narrative.
How could an implication be made as to freemasonic involvement?
Turns out, the Hollywood actor/comedian behind the mask of Bob Marley was a freemason. The actor/comedian in question is #7 on the list of famous freemasons at the link posted below. In addition, if there are doubts as to this Hollywood actor/comedian’s ability to sing well enough to take on the role of an iconic pop star, visit the other link posted and watch the truly remarkable performance.
SEE: https://nextluxury.com/interesting/famous-freemasons/
BOB MARLEY=RICHARD PRYOR
Yes everyone – “Bob Marley” was a fake hero.
In the first series of images, what is most noticeable are the identical shapes, contours of the respective eyes, particularly the downward slope of the epidermal layers on the right side. Notice too, the identical epidermal formation – indicated with arrowed red marker – centering the top portion of the respective lips. Also, though it’s been somewhat airbrushed from the third photo of Marley appearing in succession, as indicated with encircling red marker, both the character scheme known as Bob Marley and the host acting template, Richard Pryor, have an identically located epidermal landmark which appears just above the respective chins. As seen in the pictures appearing further down, both Marley and Pryor have identically structured hands with especially long thin fingers.
Below in succession: Bob Marley, Richard Pryor
In this case, teeth analysis served to fully connect the modified character scheme to the host acting template. In the series of next images posted in succession below, not only are the respective sets of teeth identically structured but also take special notice of the crookedly structured cuspids on both the upper and lower levels.
Below: Bob Marley, Richard Pryor
