Why pop music is sorcerer’s magic!

handsome-wizard-fireball-showing-black-background-49846858The following shall no doubt qualify, like most of the content found on this blog, to be very unusual. You may choose to believe the following, or not. But, don’t click off this page yet, because you’re certain to find the details intriguing, if not entertaining.  When I was younger, and much more foolish, I endeavored to start a career in the music industry. Just as an aside, in keeping with my inherent rebellious nature, before endeavoring to begin my unusual foray, I matriculated at four colleges in the Northeast of America, some of them even prestigious-and proceeded to soon drop out of all of them! While most were still treading across college campuses, spending countless hours in lecture halls listening to tenured professors tediously hold forth, I was spending a lot of time indulging quixotic notions. This was the mid-eighties, MTV was at it’s very summit in terms of popularity. One could almost feel magic swirling in the air.

One spent the glittering decade basking in the eternal power, beauty, and glory of sparkling youth. For, I felt, seizing this golden moment in time, shall be the closest any mortal being comes, to grasping the essence of immortality.

At first, being twenty-two and greener than fresh cut grass, I had no idea how to start a band, or even, for that matter, how to find fellow musicians sharing my intense desire for the rock and roll spotlight. As luck would have it, I soon met Adam through a mutual friend. At twenty-three, Adam was one of the most highly skilled drummers in the New England area. Not only did this guy look like a rock star, but, he happened to be an already accomplished professional musician. Adam worked as a session player at Brunswick studios in Revere. Needless to say, things soon fast developed. Though Brunswick recording studio appeared humble judging from the plain facade, the volume and scale of sessions booked were grand. Mostly, these were radio jingles, music beds, and vocal overdubs used in television commercials. Witnessing the recording process for the first time, proved endlessly fascinating. The head engineer, an older gentlemen named Roger, who seemed to be a permanent fixture, told me something about popular music I shall never forget. Roger told me the most important part of a piece of broadcast music is the first SIX to NINE seconds-THE HOOK!handsome-wizard-fireball-showing-black-background-49846858

“If you can’t grab them right away,” I distinctly recall hearing the wise old recording engineer kindly advise, “you’ll risk losing the audience forever!”

That sage piece of advice turned out to be monumental. Soon enough, I became a permanent fixture around the studio, learning every facet of the ‘jingle’ writing business. Learning at the feet of this brilliant old sound engineer, I was soon taking my turn at the sound board as well, helping to mix and master the jingles before they became what are called ‘media buys’. Having studied piano as a child, along with music theory in high school, I soon became involved with arranging the jingles themselves. When it was learned I could more than competently carry a tune, and sing harmonies, Adam and I became the house musicians, hired to perform on the majority of projects booked into the studio. Ironically enough, I was soon making more money than most of the kids who’d remained in college. Many of whom, despite sporting an undergraduate degree, struggled to find jobs in their chosen fields. In fact, most had to scrape together their living waiting tables in the local restaurants! While all this was exciting, an even more thrilling experience lie in wait. Adam, was becoming tired of the jingle business, and like me, harbored a hunger for bigger and better things- like MTV rock stardom! Quickly recruiting a guitarist and bass player, and after just one month of solid rehearsal, we put together a tight set of rock cover classics, along with a few catchy originals. We booked every club in and around Boston, and after one solid year of gigs, gained an appreciative, loyal, and even rabid following. All this, while Adam and I were still being called to sit in on sessions at Brunswick.

One night, finishing work on yet another long and grueling session, we discovered out stomachs rumbling in terminal hunger. Jeff, our guitar player, graduate of a very prestigious music college in Boston, and a well-sought after music teacher, suggested we adjourn to a very popular Chinese eatery. Not only were Jeff’s musical skills stellar, but the story he had to impart was even more so, perhaps even shocking.

“So,” he inquired, voice hampered with inexplicable dread. “You guys want to be rock stars, huh?”

Adam and I merely stared back, uncertain of where Jeff was going with this. The indelible tale he went on to regale, will stick with me as long as I live. But, it didn’t turn out to be easy for Jeff. For it seemed, he was quite reluctant at first, to divulge anything, in any great detail.

Now, recalling the story told to me that evening, I don’t wonder why.

After ordering, and the meals and drinks were delivered, a slew of strong cocktails seemed to  loosen up Jeff’s tongue. Apparently, before joining our group, Jeff had come very close to grabbing the brass ring of rock stardom out in LA, closer than one could have ever imagined!

“Believe me,” he remarked, steam from the plate of fresh food circling around his aquiline nose. “You guys should be careful what you wish for. I’ve been out to the music capital of the world, and seen its dark side. And, believe me, when I say, it’s so dark, night vision goggles wouldn’t help you see the light!”

“What happened next,” I asked, coaxing, hazel eyes sparkling with intrigue.

“If you repeat this,” he went on to reply, seemingly now willing to proceed. ‘I’ll deny all of it, every word!”

Both Adam and I halted our twirling forks filled with steaming Chinese noddles, trading curious and furtive glances.

“Yeah, sure Jeff,” Adam agreed, pushing back a tangle of tousled long red hair behind his pale ear. “I promise not to breathe a word!”

Noticing his cocktail glass was empty, Jeff quickly summoned the waiter for a refill. Gulping the drink like a man who had just found the only oasis while stranded for days in the Sahara, he plunged ahead, sparing us no details. And what chilling details they turned out to be!

“A few years ago, before I joined up with you guys, I got a call from an A and R (artist and repertoire) guy from Columbia on behalf of one of their subsidiaries, Jet records, to audition for Ozzy Osborne. With an American tour already booked to promote his third solo record, Ozzy’s management was caught out in a desperate situation!”

Adam and I gazed incredulously for a moment, not sure of how to initially respond. However, judging from Jeff’s rather sincere expression, we simultaneously nodded in astounded affirmation.

“Of course,” he went on to add, “I didn’t find that out until later!”

Waving frantically at the waiter, Jeff hurriedly ordered another drink. Cocktail promptly delivered, he went on in the starkest and most frank of terms- ‘telling it the way it was’, as Walter Cronkite, the old newscaster, used to say.

“This was right after the death of Randy Roads,” Jeff said. “Soon after I got the call, I flew out to LAX, and was met there by some label people. They looked pretty excited to see me,” he went on. “So, being naturally excited, the whole thing seemed like a foregone conclusion. That is, until later on!”

The entire time Jeff regaled us with his tale, we continued to tear through our noodles, wondering where this story would go next. Needless to say, the path of the story soon transitioned into surreal territory.

“I was taken all the way to Bel-Air. The house looked like something out of Citizen Kane,” Jeff described with requisite awe. “I was told it belonged to the president of Jet records who was also Sharon Osborne’s father, Ozzy’s label, a subsidiary of Columbia.”

Idly, I picked at some sauteed shrimp with my fork, taking it all in, Jeff’s voice growing increasingly sinister.

“It was overwhelming at first,” he said, ice tinkling against the glass in foreboding shimmers. “Everybody pumping my hand, as if I’d already won the gig. At any rate, they had this rig already set up. My gear had been sent ahead, and they had it all set up in this spacious foyer, filled with vases of orchids!”

Jeff proceeded to tell us some guys with long hair came straggling in the room and mixed in with the representatives from the label, just as he picked up his guitar, magic fingers at once a blur over the frets, quicksilver notes flying at light speed out of the Marshall amplifier.

“So I’m wailing out some killer riffs,” Jeff now excitedly related, placing the half-drained cocktail back down on the table. “And out of the corner of my eye, I notice this old man-looked like some kind of warlock from a horror movie- peeking out from behind these giant vases filled with orchids, like he was studying me, or something!”

The dining room clamor seemed to suddenly ebb into a soft hush.

“They all just stood there, watching me, and I swore I could see their mouth’s dropping  open. I went into some classical stuff, ‘Flight of the bumblebee’, even some Segovia and Django Reinhardt, just to complete the impression I was no joke!”

“Sounds like your audition was a resounding success,” Adam commented.

“So who was the weird guy behind the flowers,” I wondered, still shoveling heaps of noodles into my hungry mouth.

“Well,” Jeff said, draining the cocktail. “Like I said, I didn’t find out until after, after they took me upstairs to what they called the ‘temple room’.”

Again, Adam and I exchanged incredulous glances, wondering just where the talented guitar player was going with his tale.

“They were all standing around, just watching me shred, when finally I hit a big power chord. Let me tell you, the Marshall stack I was hooked into made the walls shake. The fancy paintings shook, and almost fell off. Everyone took a couple steps away when the feedback bled out! Then, the label guy puts his arm around me, tells me there are ‘important people’ waiting to see me upstairs.”

An invisible cloud of apprehension seemed to circle our table. It was getting late, and some of the guests were grabbing their coats and shuffling towards the lobby. The lights in the far corners of the dining room were just now beginning to dim. Sinister shadows began to creep along the outlines of the dining room’s red colored carpet. Music wafting from the overhead speakers began to ebb in soft whispers.

“So, this guy with a British accent, with his arm around me, turned out to be the president of Jet records. Let me tell you,” Jeff said as the hustling waiter delivered yet another cocktail. “This guy was sort of a creep, I could tell he was real shady, despite the fact he was wearing a custom black pinstriped suit. So, he takes me up these long winding stairs. But, as I’m going up,” Jeff detailed, removing the miniature pink umbrella from the fresh cocktail. “I happened to turn around, and there’s the creepy old guy who was peeking from behind the row of orchids, now standing at the foot of the long stairs-like something out of Gone with the Wind. The guy had mascara caked around his eyes. He looked like some kind of sad clown, almost!”

Needless, to say, our attentions by now were riveted-wondering, what could possibly happen next?

“We are very exited to have you aboard,” the sinister manager said. “But, in order to solidify your contractual arrangement, and become the sort of star I’m sure you’ve dreamed of,” he adamantly added. “You must join our coven, the O.T.O.!”

“It was then,” Jeff said, hint of terror rimming the eyes. “I stopped cold at the top of the long winding stairs, and looking back down, I knew if I took another step towards the black door at the end of this long hall, there was no turning back. I also noticed, the strange old guy had mysteriously disappeared.”

“What was in this…temple room?” I innocently inquired.

Jeff gazed at us both, hungrily gulping the cocktail, ice cubes banging against the tumbler glass, as if signalling doom.

“Don’t worry lad,” the sinister manager said, dark eyes boring right through the soul. “You will soon be part of something larger than yourself. The spirits shall be summoned in order that they might do your bidding. But, you must accept the spirits into your heart, and receive their love!”

We watched as Jeff slammed his eyes shut, profuse sweat beading his dark brows. Tilting back his head, he drenched his throat with the remainder of the drink, ice cubes tumbling down his esophagus.

“So, I’m standing before the door,” Jeff said, seemingly startled as if reliving the experience all over again. “And the damned thing opens all on it’s own. Weird thing is though, the space of the room seemed limitless, like I had just walked into another dimension.”

Adam and I stared, transfixed, and I felt the fork slipping from my fingers, clanking on the plate as it fell.

“Looking behind me, I noticed the manager was suddenly gone. The room went completely dark. All of a sudden, there were these pillars of fire, changing into five robed men. They just stood there. And then I heard this voice, like a low growl, broadcast from the depths of hell:

“Don’t be afraid, for we are your guardian angels.”

Jeff picked up a napkin and swept it across his sweat slicked forehead.

“Suddenly, these men moved closer, and closer…” Jeff related, leaning over the table. “I looked at them, but I couldn’t see their faces. They were obscured with these large white hoods. And then, I saw their hands…looked all scaly with long sharp nails…when they removed their hoods…those eyes…oh shit!”

Jeff’s expression grew frantic, and he snapped his fingers at the waiter to bring him another drink.

“Hey man, you don’t have to…” I tried to feebly intervene.

“No man,” Jeff replied, remaining adamant. “Those eyes were like spears of fire, like they were staring right through me…and they were coming closer, and closer…until…I started to run towards the door…but, I couldn’t shake them. No matter how fast I moved, they were right behind me!”

Jeff hoisted yet another cocktail, lips sloppily slurping.

“Sir,” the waiter suggested, standing table side. “I hope you aren’t driving, maybe you’ve had enough?”

“No, no,” Jeff insisted, taking another healthy gulp. “I’ll be okay!”

“Were you able to get out of there, or what,” Adam wondered, as the concerned waiter departed to the kitchen.

We both glanced at one another, held in utter suspense.

“Yeah, how did you escape?” I wondered too.

“I reached out for the door, but because it was so dark, I just kind of flailed around for a while. Until, finally, bright lights flashed on, and there it was. Only, when it swung open, the clownish looking man was standing there, like waiting! So, there I am, standing eye to eye with this weird looking clown faced old man. And, suddenly, I realized who he was.”

“I’m sorry mate,” Ozzy said. “But I can’t have you in the band, if you’re not ready to join our bloody coven!”

“I just brushed past the guy, down the long hall, back down the winding stairs and out of the house…I haven’t been back to LA since, and I never want to return.”

Adam and I sat mute, astonished.

“So,” Jeff exclaimed. “Both of you still want to be rock stars?”

Stay tuned for How Crown Temple Rules America part II, coming soon!

In the meantime, pick up American Siren, on sale now! $0.99 kindle $12.99 paperback ***** stars @Amazon.com/dp/B01M2VCULO

WHY MEDIA PROMOTES BATTLE OF SEXES

handsome-wizard-fireball-showing-black-background-49846858First off, one has a confession to make, I have never qualified as an avid television watcher. Nor, have I ever qualified as a rabid consumer of all forms of media in general, whether television, radio, magazines, etc. etc. One generally finds it healthier to observe life first hand, rather than through the vicarious spectrum of modern mass media. And yet, this is generally from where most derive their homogenized world view.

YOUR PERCEPTIONS OF THE WORLD ARE SOLD PREPACKAGED, AND YOU BUY!

Think about the true source of most of your valued opinions, do they truly derive from objective and empirical observation? Has one chosen to view the world and their place in it from the result of a truly objective and independent analysis? Or, has one been psychologically conditioned, either through public schooling, or perhaps the social pressures of an overriding desire to conform to some popular notion of political correctness?

Rare is the individual unencumbered by the strictures set by stultifying societal norms, for it is far easier to swim with the tide of popular opinion rather than dare rage against it, and risk drowning. Better to be numbered among the protected herd, than become a pariah existing on the fringes, bait for the wolves. One may consider they are well-informed in constantly remaining up to date on the latest television news broadcast by the media sorcerers at the major networks. But, you have been deceived. In turn, one deceives themselves into thinking the version of reality presented through mainstream media sources is a true representation of events as they’ve happened. Falling for this deception out of prevailing ignorance one might conceivably forgive, but willingly allowing for a constant diet of self-deception results in incurable neurosis.  And yet, the following will no doubt be considered the ravings of a misogynist. Allow me to say, I don’t think anyone should be denied advancement simply on the basis of gender, sexual preference, or for that matter race. However, one shouldn’t be advanced in life simply on the basis of political correctness either.

THE FEMINIST MOVEMENT WAS FUNDED BY BANKERS!

In an earlier post, I outlined the true sources of the feminist movement from decades ago, and why, from an objective standpoint, it was, and continues to be, an artificially designed social movement interested not in advancing the interests of the female gender, but in ironically enslaving them. The bankers, industrialists, and their media handmaidens are expert at promoting chaos, then establishing a new social order-a phoenix from the ashes-ready made solutions for the very problems they engineered. But, if we have learned anything about history, the masses of people fall into this trap, set time and again by those who secretly rule over us. The true purpose of the feminist movement was never emancipation, but exploitation. Divide and conquer is the Crown Temple overlords stock in trade, an effective method of operation inducing mass psychological neurosis. This sad state of affairs is meticulously kept intact, merely because it is profitable.

Unhappy people make for excellent consumers, consumers of overpriced material goods they don’t need, all to impress people they don’t even know. Only in the most neurotic of societies would artificial material acquisition become equated with elevated self-worth.

As for the relationship between the sexes, it seems to have deteriorated into a state of hopeless disrepair.Although this may represent over-generalization, both sexes seem to be terminally unhappy. Which is a welcomed state of affairs for the industrialists and the Crown Temple bankers ruling over the world. If the masses are stunned into a state of perpetual melancholy, the more time they will spend at the local mall, hoping in vain the investment in mindless material goods will compensate for their acute unhappiness. This also benefits the pharmaceutical companies and the psychiatrists who prescribe them to desperate patients thinking happiness can be found at the bottom of a medicine bottle.

In truth, unhappy people are easier and more malleable to overt government control.

The myth of the independent woman, bolstered by the non-stop promotion of the feminist movement, against the inclinations of biologically driven human nature, has almost totally compromised the integrity of society’s most enduring organizing principle- the nuclear family.

At last check, the divorce rate of newly married couples is well over fifty percent, an alarming state of affairs that has lead to a spate of social problems left unaddressed.

But this is by design.

As I outlined in my first blog post concerning this subject (Feminism all about profits not freedom), the financial catalyst for the feminist movement was the enormous largess provided by banking foundations, and lead by controlled opposition agents trained by CIA sub-departments. Unknown to the well-meaning followers of the movement, was that the bankers intentions to psychologically manipulate woman into the workplace and out of the kitchen were not socially progressive. While ostensibly the movement may have appeared progressively motivated, it was nothing of the sort. Banking families like the Rockefeller’s had figured out, that if there were more woman out in the workplace, the tax base would be exponentially expanded, from which enormous profits could be derived. This confused state of social affairs, has ironically wrought entire generations of ill-behaved woman worse than the male chauvinists they have traditionally decried.

The media sorcerers have fostered, and, to an alarming degree, promoted the dominance of the female gender at the expense of the traditional male role model. So much so, that the denigration of men has become a popular staple.

Seeking to manipulate the transformation of gender roles is but one part of a grand formula on the part of the Crown Temple bank in establishing a New World Order of affairs. One of the first steps in achieving this goal is to neutralize the American male, for they are the only ones capable of fighting back against this nefarious program of cultural tyranny, and, more importantly, most likely to be the majority of gun owners. Is it any wonder feminism and gun control continue to be the predominant social issues constantly and heavily promoted by the media sorcerers? This sort of activism is promoted as a purposeful attack on traditional notions of societal and cultural cohesion.

A nation divided on the basis of gender confusion and lack of united cohesion is much easier to control going forward, than a strong society with the integrity of the traditional nuclear family still intact.

Combined with the media sorcerers promotion of the LGBT community, this only serves to confuse traditional notions of gender even further, with the strength of the American male completely neutralized and feminized, and relegated to complete cultural insignificance.

Most, will assuredly disagree with the aforementioned opinions.

So be it!

Stay tuned for Part II of How the Crown Temple rules America!

How CIA destroyed American art culture (part 1)

Culture is the open expression of a nations creative spirit. But as shall be speculated here, the direction of that culture, since the middle of the 20th century until today, has been driven clandestinely, and from sources the public still largely remains unaware.

Could CIA have used modern art as a weapon ?

THE ‘LONG LEASH’

The answer, provided by documents available through freedom of information, is a resounding yes! Before the ‘cold war’ of the last century, an ideological struggle between the US and USSR, beginning soon after World War 2, the upstart agency was then dismayed at the growing influence of communism, not only in Hollywood, but in the modern artistic community in general.

That many of the artists were ex-communists themselves, was seen as an ideological advantage to be exploited over the rival communist regime that had to be exploited. This was done primarily to hold up the idea of cultural freedom and supremacy over the more inferior and creatively stagnant Soviet art. This policy of modern art promotion was clandestinely brought about in a program termed the ‘long leash, which provided funding for modern art projects through various ‘foundations’ set up by major industrialists like the Rockefeller, Vanderbilt, and Astor families. These prominent families are all inextricably linked to the Crown Temple in London, as well as intermarried with many of Europe’s royal bloodlines. Through an operation called Mockingbird, CIA controlled over 800 newspapers, as well as holding sway over the major television and radio networks, making the promotion of this particular brand of modern art immediately and widely successful.

The media sorcerers and intelligence agencies, specifically CIA, were not only synonymous then, this scenario remains intact until this day. To perhaps illustrate the relationship between art and CIA more clearly, this ‘long leash’ program, in coordination with Mockingbird, was a concerted effort to unite writers, musicians, and artists of all stripes, in order to demonstrate the West represented a bastion of cultural and intellectual freedom, as opposed to the Soviet system, which was comparatively regimented. It wasn’t as if there existed no opposition to this ongoing program. Both Congress and President Harry Truman, right from the outset of the agency’s program in the late 1940’s to early 1950’s, were deeply opposed to its funding. This is the reason given for CIA covert maneuvers. Ironically, the agency found itself in the position of encouraging cultural openness from the shadows. Thus, unknown artists like Jackson Pollock, became household names, along with writers then languishing in absolute obscurity like Steven Spender. This artistic transformation, caused more than a bit of cultural dissonance between middle American traditional tastes, and that of more high brow dispositions more commonly associated with metropolitan New York’s Fifth Avenue.

In fact, never had the prevailing cultural tastes of the public, and nihilist philosophy seemingly inherent in the newly  emerging abstract art  forms, been more sharply drawn. And yet, abstract expressions, increasingly throughout the 1950’s and 60’s, became increasingly commonplace, noticeable in mainstream magazines and television commercials. But, incremental and repetitive demonstration eventually accustomed the public at large to this cultural dissonance. So much so, that by the 1970’s, it can be argued the public no longer visibly flinched when subjected to repeated public demonstrations of abstract expression.

THE COLD WAR WAS A HOAX

The ultimate secret kept from the public, is that Crown Temple bankers, ruling over both US and USSR by virtue of their debt based pyramidal economic system deliberately schemed to subvert all private and public institutions in the West, including art and culture. While on the one hand appearing to fight against communism, CIA was secretly promoting collectivism. In essence, the cold war was merely an ideological smokescreen, secretly bringing forth what it purported to be endeavoring to destroy. Communism, as an ideological construct, is merely a wafer thin veil. Peering beneath this transparent facade, one can easily observe communism to be nothing more than monopoly capitalism in disguise-collectivism donned in democracy’s red, white, and blue cloak.

Americans may think they are free, but they are in fact tax slaves imprisoned within the debt based economic gulag conceived by the Crown Temple bankers in London.

During this ideological charade dubbed the ‘cold war’, tens of millions of American tax dollars were being diverted and funneled into a program wittingly designed to destroy American art culture. Meanwhile, respected figures in the national media, both in television and radio, were actively recruited and utilized by CIA to herald the arrival of this new degenerate art form. Even President Truman, albeit renowned for a conservative temperament, cast volatile aspersions during a private gallery tour at the white house, featuring some of the new artistic movement’s most noted luminaries.

One could accuse this blog post as a mistaken plunge into high brow pomposity. So be it!  In the last few decades alone, art and culture, both high and low, but particularly the former, have been purposefully destroyed by the media sorcerers. But as always, there is a method to their insane brand of madness. The true leaders of this planet, sitting on their thrones of the mighty, in fact do not care about cultural enrichment, only domination of trade markets to bolster their lofty positions. From objective remove, dare to delve back into the past, before the beginning of the last century, and one can readily observe, the  gradual deterioration of art and culture into utter bankruptcy. Once again, with exhaustive research, one will find this ruination to have been perpetrated, not by accident, but by deceptive calculation. The Crown Temple bankers, the true rulers of America and the world, have and will continue, to clandestinely plot the destiny of mankind. History, one will eventually find, is scripted well in advance. Has one never wondered, when local and federal governments call for budget cuts to the public school systems, why music and the arts are always the first to feel the brunt of the budgetary hatchet? Has one never wondered, when visiting the metropolitan museums, why the variety of ‘art’ classified as ‘abstract’ and ‘modern’ is more prominently displayed, than that of classical antiquity? To answer these pertinent questions, a more thorough examination researching the deliberate collusion between CIA and the bankers of the Crown Temple shall have to be undertaken.

The speculative answers to these questions, and perhaps more, shall be forthcoming  in the next blog post. Did CIA embark upon a well hidden program to destroy American art culture? Stay tuned, for Part II!

POP MUSIC MUCH MORE THAN ENTERTAINMENT (Part III)

handsome-wizard-fireball-showing-black-background-49846858

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!