Though many may find the following offensive, perhaps even absurd, nonetheless we shall headlong proceed. Music has a power over the human mind one can neither qualify nor quantify, and practically right from the cradle, most of the population are inundated with pop radio and video.

And yet, the thought this may be another avenue, utilized by elites to enact social conditioning, or shape mass human perception, is hardly considered, if at all, by most.

Pop music is the sweet elixir wringing in the enchanted ears, and yet many remain unaware of the darkness awaiting just beneath the honeyed veneer. Pop music represents perhaps the most potent weapon in the elites arsenal in controlling the minds of the populace. For the masses of people, pop stars represent an object of devotion, or even in extreme cases, blind worship. Many spend precious hours following the entire careers of one particular singer or pop group. This investment is not just measured in time, but in financial support, in the buying of CD’s, merchandise, T-shirts and other related commercial items.

For the elites, these public puppets exist as vehicles for maintaining their social and political hegemony, as well as accumulating vast profits.


I do not mean to claim that there are not those pop music stars who have not possessed genuine and even unique and special talents. One must consider however, for what ultimate purpose is the talent exhibited being commercially exploited?

I suppose some sort of sympathy is in order, for those afraid to look beyond pop music’s glittering veneer. But for those that may scoff at such a seemingly absurd notion, please consider the alternative perspective.

In truth, though ones favorite artists become larger than life, legends looming large in the psyche, indestructible monuments that can seemingly never be breached, they are a cruel hoax, a fabricated sham, mere archetypal models, designed to control the parameters of the public mind, and to mold social behaviors.

One does not generally enjoy destroying this sort of sacred cow, for even those disposed of late towards enlightenment, find it difficult to be persuaded that their favorite artists from the flower of their youth, nor the people that control them, may not have vested or best interests in mind.

In fact, most of the stars admired throughout past generations, are not who you think they are.

For they are not only agents of fortune and fame, but puppets dangled from the strings of the elites, the Crown Temple bankers, who own and operate not only the US corporation, but every major recording and publishing company, including their subsidiaries.

Unknown to the public, the stars themselves do not come from humble backgrounds, rather they are the children of the rich and privileged, groomed, much like the actors playing roles in international, national, and local politics, for the roles they are to enact.

The biographies concocted by Madison Avenue marketing firms are pure fantasy, designed to construct myths in the public mind, and more effective still, plant the idea that the door to the mythical American dream of grand success is open to anyone.

But the idea of attaining the American dream is unreachable for most, in fact it is pure bunk. Most, as the poet once wrote, lead lives of quiet desperation. Pop music and the promotion of its most heralded progenitors, is a tool used by the elites to shape those ill-formed energies, and transform them into social behaviors synonymous with consumerism. Today, pop stars are nothing more than human billboards selling a lifestyle and its accompanying consumer accessories.

If one listens closely, and analyzes with any shred of objectivity, does one actually believe the artists heavily promoted on radio and video channels ad nauseam, are in fact the most talented, most gifted artists available for mass consumption. Or is there yet another secret to their massive and well lauded so-called success?

Let us start once again with the timeless mantra; follow the money.

With diligent research, one will eventually discover all major media, including all major recording companies, are owned and operated under one umbrella, an umbrella held squarely in the iron hand of the Crown Temple bankers in the city of London. Has one never wondered why the sun never sits on the British empire, or in a contemporary sense, the Anglo-American empire. As has been outlined to one degree or other in past posts available on this blog, the concept of myth making is very profitable, and in the case of the music industry, a profitability that can be generated not just during the short tenure of any particular artists career, but long after they have disappeared from the public eye, preferably through death, deaths which are usually faked.

The better to create lasting myths with the added aura of fear and mystery of that which lies beyond this material dimension. Though they no longer may perform on stage or release records, the image can never fade, mythical and unfading images permanently seared into the human memory, memories which can be replenished again and again through the stimulation of nostalgia.

Have you never wondered how it is an objectively marginal talent like Madonna can still be popular, long after her heyday has receded. Have you never wondered if any of your favorite artists actually are responsible for the creation of the classic songs featured on commercial radio, generation after generation?

Having been on the inside of the music industry, this is a particular subject close to my personal heart. It is possible to say, with utter certainty, that the average popular music lover, whose actual experience in music is rather shallow, possesses little, or in reality no idea, of the sinister machinations driving the pop music industry machine.

And it is a machine, in every sense of the word!

On the other hand, if the public at large had only the vaguest notion of what really constitutes the process of mass myth making, as it relates to the creation of pop stars or popular entertainers, it is also safe to assume the elites vast profit machine would be compromised, perhaps ground to an absolute halt.

An immediate analogy can be made between those artists eclipsing super stardom and the aristocracy of the middle ages, in that they both possessed the grand luck of primogeniture over the rest of the population, chained to the indentured servitude of nine to five office cubicle slavery.

Like religion, pop music comes attached with its own sort of special and fanatic devotion. Many of the artists themselves, as in the case of Elvis, the Beatles, or Michael Jackson, become elevated to the status of nothing less than demigods, the power and wonder of super stardom stimulating almost supernaturally transcendent visions.

Since we are viewing this particular topic from a purely 21st century perspective, our analysis of this phenomenon known as pop music shall begin with the genre of popular music known as Hip-hop.


In the supposed semi-autobiographical cinematic account, 8 mile, of the life of Marshal Mather, better known to his rabid fans as Eminem, the final scene of the rap battle with his nemesis the Free World, gives a clear glimpse into the darkest secret as to the true origins of many of hip-hop’s most legendary stars.

That they are in fact, not from the ghetto, but rather like the character of Clarence, the rapper lampooned and eviscerated by Eminem in the final rap battle scene, actually the children of wealth and privilege. Or, as Eminem reveals to the audience gasping in shock, Clarence is indeed not from 8 mile, but from a more privileged neighborhood featuring a private school normally matriculated by members of the upper-middle class of society.

Once again, as in all Hollywood productions, the phenomenon of numerology codes shows itself once again. The very title of the movie 8 mile (8= double 4, or the manipulation of both dark and light, control over the duality of man), is a very popular code utilized by the elites to demonstrate their hegemony over the masses.

Certainly, most hip-hop fans never realize they are being subject to mass manipulation. That they are being sold an idea, affecting not only their future behavior, but control their very perception of the world and their place in it.

Many too, and this includes most alternative so-called truth sites, have never bothered to point out that the very name Eminem is a play on words (double M or 33 when viewed in the mirror flipped, the highest degree attainable in Scottish rite masonry).

Observing for a moment Eminem’s foes in the Free World crew, each represents a satiric characterization of rap stars contemporary at the time. While the character of Eminem points out the real identity of his most lethal foe, and his true social and economic heritage, he wittingly gives away the method of operation the recording industry has utilized since before the era of Elvis and the Beatles, in creating its most mythological figures.

Indeed, the stories you have been told regarding your favorite music stars is a pack of lies, and yet most are too blind to even investigate.

Indeed, the true name, origin and background of many of yesterdays most heralded pop stars were in fact a sham, a concocted story to stimulate public imagination, and thus stimulating profitability for the Crown Temple bankers, who control not only the recording industry, but Hollywood as well.

In the next installment of this three part series, we shall delve more into the history of not only hip-hop, but classic rock as well.

We shall examine the true reason for each genre’s creation, and the ulterior purposes responsible for it’s prominent level of public promotion within American pop culture.

Until then, remember that what you’re listening to on the radio or watching on that video channel, represents much more, than just entertainment!



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