Showing posts with label music. Show all posts
Showing posts with label music. Show all posts

Friday 27 September 2024

THE GENIUS OF THE PIXIES

In the early days with Kim Deal perfectly offsetting Frank Black:

https://www.youtube.com/watch?v=I_aBmrYChfQ


 Their anger and energy live was awesome

https://www.youtube.com/watch?v=4i6jtsCpImo


But then Frank Black with his massive ego sacked Kim Deal

Decades later they achieved that brilliance once again with the hypnotic Paz Lenchantin replacing Kim Deal on bass

"Amazing live performance! They have Joy Division level intensity"

https://www.youtube.com/watch?v=FiUNDeuBbi8

 


But then Frank Black sacked Paz too, and the Pixies are no longer great. They were awesome once though!


Saturday 14 September 2024

REVISITING THE BEATLES

As a music fan and a “conspiracy theorist” I've long been confused and conflicted about The Beatles. Maybe part of what keeps pulling me back to look at them is that I know I have never fully understood this story, but I suspect that it ties into almost every deep state cover up for the past 60 years.

And another aspect is that despite living on the opposite side of the globe (I’m not a flat earther), my mother is from Liverpool, and I spent some time there staying with relatives as a child. People I spoke to who lived there in the early 60’s never saw or heard of them back then, and were stunned when they became “bigger than Jesus” all around the world.

image.png

On the one hand I think they performed some of the greatest pop songs ever written. They have influenced most of my favourite bands – everyone from Split Enz to Joy Division. But my favourite Beatles track, “Rain” was never even on an album…

2022-10-22_124535.jpg

https://www.youtube.com/watch?app=desktop&v=cK5G8fPmWeA

On the other hand I hate some of their music as much as any music I’ve ever heard. For example, I think the album “Sgt. Peppers Lonely Heart’s Club Band” is horrible – really creepy. And that is just based on the music, let alone the fact that it’s filled with satanic and deep state references from the cover to the final track.

image.png

They put out all sorts of amazing and really advanced music, but as soon as you start delving into the rabbit hole that is The Beatles, the cover ups and mismatched stories are endless.

image.png

There are so many conflicting theories it’s hard to know where to start. But here are three things I am certain of. There was more than one person playing the role of “Paul McCartney”, they did not write nor play all the music that is credited to them, and John Lennon was not assassinated in 1980.

2022-10-22_123517.jpg

http://mileswmathis.com/paul8.pdf

2022-10-22_123534.jpg

http://mileswmathis.com/lennon.pdf

image.png

 

Monday 9 September 2024

WHY DID ALL RAP MUSIC SUDDENLY TURN TO SHIT IN 91?

 

It’s hard to believe now, but back in the 80’s there were several really good rap albums. My own favourite is “Paul’s Boutique” by the Beastie Boys from 1989

Before you say Jews can’t rap (although that is usually pretty accurate), check this out:

The last good rap album I ever heard was “Traction” (1994) by New Zealand band Supergroove.

And before you say Kiwis can’t rap check this out:

I’ve long wondered why rap music turned to shit a full 10 years before all other music turned to shit.

And then I read this and everything made sense.

I have no idea who the guy was who wrote this, but that is the point really – if anyone knew who he was he probably would have been suicided…

Yeah, this does all sound like it could be true to me:

“After more than 20 years, I’ve finally decided to tell the world what I witnessed in 1991, which I believe was one of the biggest turning point in popular music, and ultimately American society.

I have struggled for a long time weighing the pros and cons of making this story public as I was reluctant to implicate the individuals who were present that day.

So I’ve simply decided to leave out names and all the details that may risk my personal well being and that of those who were, like me, dragged into something they weren’t ready for.

Between the late 80’s and early 90’s, I was what you may call a “decision maker” with one of the more established company in the music industry. I came from Europe in the early 80’s and quickly established myself in the business. The industry was different back then.

Since technology and media weren’t accessible to people like they are today, the industry had more control over the public and had the means to influence them anyway it wanted.

This may explain why in early 1991, I was invited to attend a closed door meeting with a small group of music business insiders to discuss rap music’s new direction. Little did I know that we would be asked to participate in one of the most unethical and destructive business practice I’ve ever seen.

The meeting was held at a private residence on the outskirts of Los Angeles. I remember about 25 to 30 people being there, most of them familiar faces.

Speaking to those I knew, we joked about the theme of the meeting as many of us did not care for rap music and failed to see the purpose of being invited to a private gathering to discuss its future.

Among the attendees was a small group of unfamiliar faces who stayed to themselves and made no attempt to socialize beyond their circle. Based on their behavior and formal appearances, they didn’t seem to be in our industry.

Our casual chatter was interrupted when we were asked to sign a confidentiality agreement preventing us from publicly discussing the information presented during the meeting. Needless to say, this intrigued and in some cases disturbed many of us.

The agreement was only a page long but very clear on the matter and consequences which stated that violating the terms would result in job termination. We asked several people what this meeting was about and the reason for such secrecy but couldn’t find anyone who had answers for us.

A few people refused to sign and walked out. No one stopped them. I was tempted to follow but curiosity got the best of me. A man who was part of the “unfamiliar” group collected the agreements from us.

Quickly after the meeting began, one of my industry colleagues (who shall remain nameless like everyone else) thanked us for attending. He then gave the floor to a man who only introduced himself by first name and gave no further details about his personal background.

I think he was the owner of the residence but it was never confirmed. He briefly praised all of us for the success we had achieved in our industry and congratulated us for being selected as part of this small group of “decision makers”.

At this point I begin to feel slightly uncomfortable at the strangeness of this gathering. The subject quickly changed as the speaker went on to tell us that the respective companies we represented had invested in a very profitable industry which could become even more rewarding with our active involvement.

He explained that the companies we work for had invested millions into the building of privately owned prisons and that our positions of influence in the music industry would actually impact the profitability of these investments.

I remember many of us in the group immediately looking at each other in confusion. At the time, I didn’t know what a private prison was but I wasn’t the only one. Sure enough, someone asked what these prisons were and what any of this had to do with us.

We were told that these prisons were built by privately owned companies who received funding from the government based on the number of inmates. The more inmates, the more money the government would pay these prisons. It was also made clear to us that since these prisons are privately owned, as they become publicly traded, we’d be able to buy shares.

Most of us were taken back by this. Again, a couple of people asked what this had to do with us. At this point, my industry colleague who had first opened the meeting took the floor again and answered our questions. He told us that since our employers had become silent investors in this prison business, it was now in their interest to make sure that these prisons remained filled.

Our job would be to help make this happen by marketing music which promotes criminal behavior, rap being the music of choice. He assured us that this would be a great situation for us because rap music was becoming an increasingly profitable market for our companies, and as employee, we’d also be able to buy personal stocks in these prisons.

Immediately, silence came over the room. You could have heard a pin drop. I remember looking around to make sure I wasn’t dreaming and saw half of the people with dropped jaws.

My daze was interrupted when someone shouted, “Is this a fucking joke?”

At this point things became chaotic.

Two of the men who were part of the “unfamiliar” group grabbed the man who shouted out and attempted to remove him from the house. A few of us, myself included, tried to intervene. One of them pulled out a gun and we all backed off. They separated us from the crowd and all four of us were escorted outside.

My industry colleague who had opened the meeting earlier hurried out to meet us and reminded us that we had signed agreement and would suffer the consequences of speaking about this publicly or even with those who attended the meeting.

I asked him why he was involved with something this corrupt and he replied that it was bigger than the music business and nothing we’d want to challenge without risking consequences.

We all protested and as he walked back into the house I remember word for word the last thing he said, “It’s out of my hands now. Remember you signed an agreement.” He then closed the door behind him. The men rushed us to our cars and actually watched until we drove off.

A million things were going through my mind as I drove away and I eventually decided to pull over and park on a side street in order to collect my thoughts. I replayed everything in my mind repeatedly and it all seemed very surreal to me. I was angry with myself for not having taken a more active role in questioning what had been presented to us.

I’d like to believe the shock of it all is what suspended my better nature. After what seemed like an eternity, I was able to calm myself enough to make it home. I didn’t talk or call anyone that night. The next day back at the office, I was visibly out of it but blamed it on being under the weather.

No one else in my department had been invited to the meeting and I felt a sense of guilt for not being able to share what I had witnessed. I thought about contacting the 3 others who wear kicked out of the house but I didn’t remember their names and thought that tracking them down would probably bring unwanted attention.

I considered speaking out publicly at the risk of losing my job but I realized I’d probably be jeopardizing more than my job and I wasn’t willing to risk anything happening to my family.

I thought about those men with guns and wondered who they were? I had been told that this was bigger than the music business and all I could do was let my imagination run free. There were no answers and no one to talk to.

I tried to do a little bit of research on private prisons but didn’t uncover anything about the music business’ involvement. However, the information I did find confirmed how dangerous this prison business really was. Days turned into weeks and weeks into months.

Eventually, it was as if the meeting had never taken place. It all seemed surreal. I became more reclusive and stopped going to any industry events unless professionally obligated to do so. On two occasions, I found myself attending the same function as my former colleague. Both times, our eyes met but nothing more was exchanged.

As the months passed, rap music had definitely changed direction. I was never a fan of it but even I could tell the difference. Rap acts that talked about politics or harmless fun were quickly fading away as gangster rap started dominating the airwaves.

Only a few months had passed since the meeting but I suspect that the ideas presented that day had been successfully implemented. It was as if the order has been given to all major label executives. The music was climbing the charts and most companies when more than happy to capitalize on it.

Each one was churning out their very own gangster rap acts on an assembly line. Everyone bought into it, consumers included. Violence and drug use became a central theme in most rap music.

I spoke to a few of my peers in the industry to get their opinions on the new trend but was told repeatedly that it was all about supply and demand. Sadly many of them even expressed that the music reinforced their prejudice of minorities.

I officially quit the music business in 1993 but my heart had already left months before. I broke ties with the majority of my peers and removed myself from this thing I had once loved. I took some time off, returned to Europe for a few years, settled out of state, and lived a “quiet” life away from the world of entertainment.

As the years passed, I managed to keep my secret, fearful of sharing it with the wrong person but also a little ashamed of not having had the balls to blow the whistle. But as rap got worse, my guilt grew.

Fortunately, in the late 90’s, having the internet as a resource which wasn’t at my disposal in the early days made it easier for me to investigate what is now labeled the prison industrial complex.

Now that I have a greater understanding of how private prisons operate, things make much more sense than they ever have. I see how the criminalization of rap music played a big part in promoting racial stereotypes and misguided so many impressionable young minds into adopting these glorified criminal behaviors which often lead to incarceration.

Twenty years of guilt is a heavy load to carry but the least I can do now is to share my story, hoping that fans of rap music realize how they’ve been used for the past 2 decades. Although I plan on remaining anonymous for obvious reasons, my goal now is to get this information out to as many people as possible.

Please help me spread the word. Hopefully, others who attended the meeting back in 1991 will be inspired by this and tell their own stories. Most importantly, if only one life has been touched by my story, I pray it makes the weight of my guilt a little more tolerable”


Want to see this bullshit actually starting out back in 91? – Ice T – Original Gangster

Now watch his moronic video and say this isn’t part of a zionist control plan:

And read the comments underneath and say it didn’t inspire some retards to get their sorry arses straight into a prison!

Share this about a bit – I suspect that was the authors intention

http://humansarefree.com/2014/10/the-secret-meeting-that-changed-rap.html


SO HOW MORONIC WERE ICE T’s LYRICS? – just try this utter crap for size:

SOME RANDOM EXTRAS

 48ff66eea4e8f1a9e3d889ffbeda4cf6f2a2ff49-618x802.jpg
pic_rnd-8-42.jpg

DiZcks4WAAAwXa2.jpg

 

A tricky question is how much of rap is done from within and how much from above? I think all popular music is being done from above, and modern musicians are too talentless to write any of it themselves, but there are lots of agendas – transgender and satanism being big ones at the moment…

These two tranny freaks are quite a story – Start with swapping their sexes over and then throw in some satanic shit..

Tuesday 3 September 2024

UNLISTENABLE SHIT HAS A NAME

Unlistenable shit has a name, & it's name is "Danger Music"


Danger music is an experimental form of avant-garde 20th and 21st century music and performance art. It is based on the concept that some pieces of music can or will harm either the listener or the performer, understanding that the piece in question may or may not be performed.


Kyle Gann describes in his book Music Downtown: Writings from the Village Voice how Takehisa Kosugi's composition Music for a Revolution directs the performer to "[s]coop out one of your eyes 5 years from now and do the same with the other eye 5 years later". Works such as this are also sometimes referred to as anti-music because they seem to rebel against the concept of music itself. 


Danger music is often closely associated with the Fluxus school of composition, especially the work of Dick Higgins who composed a series of works entitled Danger Music.

Australian noise musician Justice Yeldham plays an instrument made of glass, often shattering it during live shows and receiving facial wounds in the process.


As with many forms of concept music and performance art, the lines between "music", "art", "theater", and "social protest" are not always clear or apparent. Danger Music consequently has some things in common with the performance art of artists such as Mark Pauline and Chris Burden. For instance, some extreme examples of danger music direct performers to use sounds so loud that they will deafen the participants, or ask performers to throw antipersonnel bombs into the audience

This photo above is not a performance of danger music, it is a band called Danger Danger who look like such total numpties I wanted to post their picture. The image below may be something to do with something but I have no idea what...

This is a video of some dangerous music involving using a hair trimmer without a helmet:

 https://www.youtube.com/watch?v=tQLa3_X-8fY&t=21s

 Nam June Paik's composition “Danger Music for Dick Higgins” instructs people to listen and imagine “creeping into the vagina of a living whale”...