On the night of September 7, 1996, the MSM reported that Tupac Amaru Shakur – born, according to Wikipedia, Lesane Parish Crooks – was shot and killed by an unknown assailant after attending a boxing match in Las Vegas.
However, as has been proved time and again, when it comes to pop stars, sometimes they die, resurrect, and live to tell their own story.
Turns out, such was the case with the “late” gangster rapper and Hollywood actor Tupac Shakur.
The artificially created tastes of low brow popular culture have conditioned entire generations to believe the terms “gangster” and “rapper” are synonymous.
But, as everyone shall soon witness in an upcoming video excerpt, the comedian identified as the host actor who once portrayed the “late” but legendary “gangster rapper” “Tupac Shakur” thinks otherwise.
In fact, as everyone shall hear the comedian, identified as Tupac Amaru Shakur’s host actor, put it, he believes the term “gangster rapper” exists as an “oxymoron.’
He would, after all, know very well.
The comedian’s performance exists as prima facie evidence of the duplicity of those helping to perpetrate the phenomenon of Post-Modern Reality Simulation. On the one hand, while Tupac Amaru Shakur’s host actor denounces the “pimping” of gangster rap by his Jesuit masters upon the African-American youth of America, years earlier, he allowed himself, while posing as a “gangster” rapper, to be utilized as an agent of social chaos.
“GANGSTER RAP PIMPS”
ETYMOLOGY OF “TUPAC AMARU”
An investigation into the etymology or origins of the name “Tupac Amaru” leads us to the hidden proprietors of the music industry and, though led back into the mists of time and history, we also find ourselves walking straight on a trail towards the creators of the fabricated character legend of “gangster rap” known to the public as “Tupac Amaru Shakur”.
According to Wikipedia, “Jose Gabriel Tupac Amaru (March 10, 1728 – May 18, 1781) – known as Tupac Amaru II – was the leader of a large Andean uprising against the Spanish in Peru, whose quelling resulted in his death.”
From the same biographical entry, at Wikipedia, we are given a key piece of telltale information, about the “mythical figure in the Peruvian struggle for independence and indigenous rights movement, as well as an inspiration to myriad causes in Spanish America and beyond.”
“Tupac’s parents died when he was twelve-years old, and he was raised by an aunt and uncle. At age sixteen, he received a Jesuit education at the San Francisco de Borja School, founded to educate the sons of kurakas.”
The School de Borja, at San Francisco, referred to by Wikipedia, was founded by the Borgia family, one of the thirteen Jesuit families whose genealogical history is littered with the ascension of several of its descendants to either the position of cardinal or to the papal throne.
Again, according to Wikipedia, a kuraka “was an official of the Incan Empire who held the role of magistrate, about four levels down from the Sapa Inca, the head of the Empire.”
In other words, Tupac Amaru II was an administrative tax collector, working on behalf of the Spanish royal family and, by extension, the Jesuit order at the Vatican.
Prior to Tupac Amaru’s arrival in South America, the plan for the conquest of the “New World” had already been set up by the papal throne, as had the legal framework which, still, to-this-day, exists as evidential documentation, ensuring the Spanish royals – on behalf of the papal throne at the Vatican – exclusive rights to any discovered lands.
According to an article published at gilderlehrman.org, “The Papal Bull ‘Inter Caetera’, issued by Pope Alexander VI on May 4, 1493, played a central role in the Spanish conquest of the New World.”
SEE: https://www.gilderlehrman.org/history-resources/spotlight-primary-source/doctrine-discovery-1493
It should be noted, Pope Alexander VI also descended from the Borgia family whom are still among the most powerful and influential of the ruling thirteen Jesuit families.
JESUIT TRAINED REVOLUTIONARY?
Wikipedia all but confirms the thesis Tupac Amaru II was a Jesuit-trained revolutionary, a Spanish counter-intelligence agent who was covertly working for the interests of the Jesuit order, while overtly appearing to campaign for the “liberation” of the indigenous tribe of South American natives he had infiltrated: “The Jesuits ‘impressed upon him his social standing as future kuraka and someone of royal Inca blood’.”
“At age twenty-two,” Wikipedia goes on to inform us, “Tupac Amaru II married Micaela Bastidas,” after which, “he succeeded his father as kuraka, giving him rights to {own} land.”
Regarding Micaela Bastidas, she is depicted by history, according to Wikipedia, as “a pioneering indigenous leader against Spanish rule in South America, and a martyr for Peruvian independence.”
As for Bastidas, Tupac Amaru’s wife-of-record, her official biographical entry at Wikipedia is, perhaps unsurprisingly, couched in the tenor of “Social Justice”, the manufactured social and political movement funded by the ruling thirteen Jesuit families, describing her as a ‘marginalized’ woman of mixed race.
Somehow, the CIA hacks at Wikipedia cannot waste an opportunity in using the historical annals to promote their hackneyed and ill-conceived propaganda. Just as they are today, those at the highest echelons of the Jesuit order, centuries ago, were utilizing the conceptual ideologies of “Social Justice” and “revolutionary liberation” as divisive tools of economic, social, and political subjugation.
Wikipedia goes on to inform us that, “She {Micaela Bastidas} was the natural daughter of Manuel Bastidas (d. 1746) (perhaps of African descent or a priest) and Josefa Puyucahua Sisa. Given her status as an illegitimate child perhaps either of a priest or a black, she was marginalized in the overwhelmingly indigenous Andean highlands.”
Of course, Wikipedia seems unaware, the fact Micaela was able to marry Tupac Amaru II, a high-level government official and land owner, completely discounts their adamant historical claim she was “marginalized” due to her mixed race.
Though, historically, both Tupac and Micaela are depicted as heroic figures who bitterly fought against the tyranny of a ruling empire, their rebellious efforts failed, a crushing defeat which led to the slavery and eventual genocide of the Incan tribe at the hands of the Jesuit-controlled Spanish royal family.
In summary, as a counter-revolutionary agent of the Jesuits, it seems Tupac Amaru II did exactly what he was trained by the Jesuits to do; stir up chaos which led to a “revolution” and the economic, social, and political subjugation of the targeted Incan tribe of indigenous peoples.
Over the centuries, the Jesuit order and the thirteen, ruling elite Jesuit families – to whom the ends have always justified whatever means – have become well-practiced at sowing the malevolent seeds of chaos and revolution to more tightly consolidate their control and commercial monopoly over a potential market’s human and natural resources.
Though it is claimed Tupac Amaru was captured by the Spanish and summarily executed, it seems likely – similar to his latter-day namesake, Tupac Amaru Shakur, the music industry legend – he survived to return to Spain, was subsequently rewarded by his Jesuit masters, and continued on with the remainder of his life under a pseudonym.
How does the story of a 18th century South American revolutionary, Tupac Amaru II, correlate with the subject-at-hand, Tupac Amaru Shakur, the modern-day martyr of “gangster rap”, one who was alleged to have been gunned down by an assassin in 1996?
Surely, after having watched the video clip, displayed above, most have already begun to surmise Tupac Shakur faked his death and merely went on to star in another genre of entertainment.
During the video excerpt displayed immediately below, not only will everyone hear the voice over narration clearly state, “he {Tupac Shakur} had the range to perform Shakespeare” – confirming he was a trained actor – everyone shall also witness Tupac Shakur, “imitating one his favorite characters – Scarface.”
Voice print sample analysis confirms the comedian Eddie Griffin, performing the very same imitation of “Scarface” beginning at 1:15 in the earlier video clip, as the host actor who portrayed the “late” “Tupac Amaru Shakur”, featured in the video excerpt which immediately follows.
TUPAC SHAKUR PERFORMS ‘SCARFACE’
Added to voice imprint analysis, extensive image comparison, facial recognition, and ear biometric analyses also confirm comedian Eddie Griffin as the host actor who portrayed the “late” “Tupac Shakur”.
Tupac Shakur: https://www.gettyimages.com/detail/news-photo/rapper-tupac-shakur-poses-for-a-portrait-at-club-amazon-on-news-photo/883992172
Eddie Griffin: https://www.gettyimages.com/detail/news-photo/the-comedy-get-down-tour-featuring-comedian-eddie-griffin-news-photo/950002300
Though both lived centuries apart, both Tupac Amaru II, the Jesuit-trained counter-intelligence revolutionary, and Tupac Amaru Shakur, the classically-trained performing artist, worked for identical masters – the Jesuit order and the thirteen families – and on behalf of similar agendas.
According to “Krayzie Bone”, an accomplished performer within the music industry, a contemporary of “Tupac Amaru Shakur” and a critically acclaimed rapper, the entire genre of “gangster rap” was created and manipulated into mass popularity by the owners, movers and shakers of the music business to enslave and imprison the youth of the African-American community, and for the profit of – what was at that time – a growing private prison industry.
KRAYZIE BONE EXPOSES THE SECRET MEETING THAT CHANGED RAP MUSIC:
SIX BIG BANKS, HOLLYWOOD & PRIVATE PRISON INDUSTRY
According to an article published at takepart.com, six merchant banks have funded the private prison industry in America. One of those banks cited by the article is Bank of America (AKA Bank of Italy), which was founded by Amadeo Pietro Giannini who, during his lifetime, was made a Knight of Malta, a military order controlled by the Jesuits.
SEE: http://www.takepart.com/article/2016/11/17/meet-six-big-banks-keeping-private-prisons-business/
During the early 20th century, Giannini was also instrumental in financing the Hollywood movie/music industry which, today, is still controlled by the Pallavicini family (AKA Stewart) whose genealogy can be traced back to the founding of Imperial Rome.
Whether the account heard in the previous video excerpt is valid, nevertheless, as evidenced by yet another article published at atlantablackstar.com, the growth of the private prison industry has clearly benefitted many major American corporations, including Whole Foods and McDonalds.
“Prison labor in the United States,” states the article published at atlantablackstar.com, “is referred to as insourcing. Under the Work Opportunity Tax Credit (WOTC), employers receive a tax credit of $2,400 for every work-release inmate they employ as a reward for hiring “risky target groups.” The article goes on to state, “The workers are not only cheap labor, but they are considered easier to control. They also tend to be African-American males.” Furthermore, the article reports, “Companies are free to avoid providing benefits like health insurance or sick days. They also don’t need to worry about unions, demands for vacation time, raises or family issues.”
Keep in mind that, while reading the article available at the link directly above, all of the corporations listed as commercial beneficiaries of the private prison industrial complex are owned and monopolized by the thirteen Jesuit families, the very same whom own and control the Hollywood music industry and also employed the acting services of the “late” “Tupac Amaru Shakur” (AKA comedian Eddie Griffin) to promote their profitable commercial interests.
PSYSHOACOUSTICS
According to an article published at izotope.com, entitled Psychoacoustics: How Perception Influences Music Production, “Even if you aren’t aware of the term, you likely engage with psychoacoustic principles in music production on a regular basis – for example, manipulating an unusual sound source to be heard as a conventional instrument.” When it comes to record production, such industry-standard practices, the article concludes, can not only effect how a song is perceived by the listener, psychoacoustics can also effect a desired emotional response in the listener.
“With a basic understanding of psychoacoustics, you can more easily shape music to provoke a specific response in the listener.”
Provoking angry and even anti-social behavioral responses in someone exposed repeatedly to the low-vibrational frequencies of gangster rap music productions, for example?
Scientific studies have shown, like those which have been performed at the National Academy of Sciences, indicate that the manipulation of sound frequency can “entrain” neural oscillations, “overall suggesting that frequency fluctuations in natural environmental input provide a pacing signal for endogenous neural oscillations, thereby influencing {human} perceptual processing.”
SEE: https://www.pnas.org/content/109/49/20095
Furthermore, yet another research article; Influence of Music on the Behaviors of Crowd in Urban Open Public Spaces, concludes that musical frequencies can have a profound effect on human behavior and, especially, on the behavior of crowds.
https://www.frontiersin.org/articles/10.3389/fpsyg.2018.00596/full