Monday, October 4, 2010

CELEBRITY SACRIFICE So is the music business controlled by inter-dimensional lizards? Apparently so. Unlike most corporations, the Illuminati have occult skills and arcane knowledge, as well as an advanced understanding of psycho logy which goes beyond the feeble marketing boosterism of positive thinking and PR. The Illuminati run everything – including the music, TV and movie industries. By incorporating trigger images and developing projects which promote their own form of amorality, the Illum inati can influence entire populations and promote their reptilian values of systematic abuse, pathological self-centredness and ruthless competition. This makes celebrities very useful to them. The mark eting value of celebrity is worth billions, which is why famous names appear on the packaging of everything from breakfast cereals to cars, seducing their followers into buying the officially approved choices of their idols. But less positive occult leverage is also possible. Rather like voodoo dolls, Illuminati magicians and psychiatrists stick psychological pins into their pet celebrities, both for the instant gratification of immediate sadism and because the mass attention focused on celebrities transfers and amplifies the tort ure for the public at large. If the conditioning starts to slip, as sometimes it does, celebrities can always be sacrificed to create an upwelling of popular emotion that’s immensely useful in ritual magic. Central to this new form of conspiranoia is the belief that imagination and attention are the most precious of occult commodities. According to conspiracist Matthew Delooze, music festivals and other media events provide opportunities for the harvesting of human energy. In the same way that David Icke’s reptilians bear an interesting resemblance to the lizard people shown in the 1980s sci-fi series V, Delooze’s human-harvesting echoes scenes in the 1970s TV series Quatermass, where aliens compel young people to gather in large groups and then harvest them for food. The Delooze re-imagining assumes that emotional energy is more useful to invisible entities than physical body parts, but the theme of humans as willing prey remains recognisable. Appropriately enough, in the TV series, the most attractive locations for public ritual sacrifice are sacred sites like Stonehenge and Glastonbury, and giant stadia like Wembley. Delooze believes that music festivals and very public deaths like those of Princess Diana and Michael Jackson are equally valuable. Glastonbury may be the ultimate feel-good festival, but the existence of a pyramid stage and the presence of ‘ley lines’ sugg ests that it’s up to no good. This may confuse survivors of the original festival scene, who saw festivals as venues for free expression away from the rigid values of a Cold War culture. It may also surprise survivors of the 1980s and 1990s, who saw festivals and raves as places where ordinary people could escape from work and authoritarianism at none-too legal gatherings; not to mention historians of popular cult ure, who have traced the lineage that leads to modern-day festivals back to rowdy public fairs and markets, some of which date to mediæval times. To Delooze-ians this is all part of the plot. Participants think they’re having fun, when really they’re being mind-controlled and manipulated. Mass media promotion of festiv als and celebrity news traps viewers inside an emotional world where they can be herded from experience to experience like farm animals. Others have suggested that all media content is Illuminati-controlled for maximum occult benefit, whether it’s Live Earth or coverage of Britney Spears’s latest breakdown.

CELEBRITY SACRIFICE
So is the music business controlled by inter-dimensional lizards? Apparently so. 

Unlike most corporations, the Illuminati have occult skills and arcane knowledge, as well as an advanced understanding of psycho logy which goes beyond the feeble marketing boosterism of positive thinking and PR. The Illuminati run everything – including the music, TV and movie industries. By incorporating trigger images and developing projects which promote their own form of amorality, the Illum inati can influence entire populations and promote their reptilian values of systematic abuse, pathological self-centredness and ruthless competition. 

This makes celebrities very useful to them. The mark eting value of celebrity is worth billions, which is why famous names appear on the packaging of everything from breakfast cereals to cars, seducing their followers into buying the officially approved choices of their idols. But less positive occult leverage is also possible. Rather like voodoo dolls, Illuminati magicians and psychiatrists stick psychological pins into their pet celebrities, both for the instant gratification of immediate sadism and because the mass attention focused on celebrities transfers and amplifies the tort ure for the public at large. If the conditioning starts to slip, as sometimes it does, celebrities can always be sacrificed to create an upwelling of popular emotion that’s immensely useful in ritual magic.

Central to this new form of conspiranoia is the belief that imagination and attention are the most precious of occult commodities. According to conspiracist Matthew Delooze, music festivals and other media events provide opportunities for the harvesting of human energy. In the same way that David Icke’s reptilians bear an interesting resemblance to the lizard people shown in the 1980s sci-fi series V, Delooze’s human-harvesting echoes scenes in the 1970s TV series Quatermass, where aliens compel young people to gather in large groups and then harvest them for food. The Delooze re-imagining assumes that emotional energy is more useful to invisible entities than physical body parts, but the theme of humans as willing prey remains recognisable. Appropriately enough, in the TV series, the most attractive locations for public ritual sacrifice are sacred sites like Stonehenge and Glastonbury, and giant stadia like Wembley. 

Delooze believes that music festivals and very public deaths like those of Princess Diana and Michael Jackson are equally valuable. Glastonbury may be the ultimate feel-good festival, but the existence of a pyramid stage and the presence of ‘ley lines’ sugg ests that it’s up to no good. This may confuse survivors of the original festival scene, who saw festivals as venues for free expression away from the rigid values of a Cold War culture. It may also surprise survivors of the 1980s and 1990s, who saw festivals and raves as places where ordinary people could escape from work and authoritarianism at none-too legal gatherings; not to mention historians of popular cult ure, who have traced the lineage that leads to modern-day festivals back to rowdy public fairs and markets, some of which date to mediæval times. 

To Delooze-ians this is all part of the plot. Participants think they’re having fun, when really they’re being mind-controlled and manipulated. Mass media promotion of festiv als and celebrity news traps viewers inside an emotional world where they can be herded from experience to experience like farm animals. Others have suggested that all media content is Illuminati-controlled for maximum occult benefit, whether it’s Live Earth or coverage of Britney Spears’s latest breakdown. 

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