The Falsification of History: Our Distorted Reality (106 page)

In fact it is quite simple to demonstrate using such methods as tree rings and ice cores that temperatures in what scientists refer to as the ‘medieval warm period’, were considerably higher on average than those of today.
 
And there is also much socio-historical evidence to suggest that life in this period was far more comfortable than today despite their being an approximately two-degree higher average temperature than at present and absolutely no evidence of polar ice-cap melt or of coastlines being inundated worldwide.
 
Indeed, were the temperatures to rise by as much as two or even five degrees in the next few years, then far from it being cataclysmic, most true scientists believe that it would be highly beneficial to life on Earth, especially the human variety.

“What has been forgotten in all the discussions about global warming is a proper sense of history.
 
We have this view today that warming is going to have apocalyptic outcomes.
 
In fact, during the ‘medieval warm period’, the world was even warmer than today and history shows that it was a wonderful period of plenty for everyone.
 
When the temperatures began to drop, harvests failed and England’s vine industry died.
 
It makes one wonder why there is such a fear of warmth.”
 
Professor Phillip Scott, the department of Geography, University of London

“Warming fears are the worst scientific scandal in scientific history…
 
When people come to know what the truth is, they will feel deceived by science and scientists.”
 
Dr. Kiminori Itoh, environmental physical chemist

A small point maybe, but a valid illustration of how we are all being conned by these people and their extravagant lies and distortions, is the myth of imminent polar bear extinction.
 
According to Dr. Mitchell Taylor who has been involved for decades in the research of polar bears in northern Canada, this is absolutely untrue.
 
They are in fact experiencing their highest numbers for almost sixty years.
 
The famous photograph of the two polar bears standing on an ice floe and used by Gore for his infamous An Inconvenient Truth was in fact taken by Amanda Byrd who publicly stated to no avail that the bears were in no danger whatsoever.
 
In fact polar bears far from being in danger of drowning in these situations are well-known to be capable of swimming for up to 200 miles at a stretch when seeking-out new food sources.
 

Then in late 2009, we suddenly saw the final nail in the ‘warmists’ coffin with the exposure of the ‘climategate emails’.
 
Upon reading the 1000+ emails and 72 leaked documents it becomes immediately apparent why the East Anglia Climate Research Unit would have wished to keep them under lock and key.
 
Here are just a few snippets below as examples of how the warmists have faked and manipulated data to further their own ends as have been revealed in these highly incriminating emails:

“I’ve just completed Mike’s Nature trick of adding in the real temps to each series for the last 20 years (ie from 1981 onwards) and from 1961 for Keith’s to hide the decline.”

“The fact is that we can’t account for the lack of warming at the moment and it is a travesty that we can’t.
 
The CERES data published in the August BAMS 09 supplement on 2008 shows there should be even more warming: but the data are surely wrong.
 
Our observing system is inadequate.”

“Can you delete any emails you may have had with Keith re AR4?
 
Keith will do likewise. He’s not in at the moment – minor family crisis.
 
Can you also email Gene and get him to do the same? I don’t have his new email address.
 
We will be getting Caspar to do likewise.”

“……Phil and I have recently submitted a paper using about a dozen NH records that fit this category, and many of which are available nearly 2K back–I think that trying to adopt a timeframe of 2K, rather than the usual 1K, addresses a good earlier point that Peck made w/ regard to the memo, that it would be nice to try to ‘contain’ the putative ‘MWP’, even if we don’t yet have a hemispheric mean reconstruction available that far back….”

“This was the danger of always criticising the skeptics for not publishing in the ‘peer-reviewed literature’. Obviously, they found a solution to that–take over a journal!
 
So what do we do about this?
 
I think we have to stop considering ‘Climate Research’ as a legitimate peer-reviewed journal.
 
Perhaps we should encourage our colleagues in the climate research community to no longer submit to, or cite papers in, this journal.
 
We would also need to consider what we tell or request of our more reasonable colleagues who currently sit on the editorial board…What do others think?”

“I will be emailing the journal to tell them I’m having nothing more to do with it until they rid themselves of this troublesome editor.
 
It results from this journal having a number of editors. The responsible one for this is a well-known skeptic in NZ.
 
He has let a few papers through by Michaels and Gray in the past.
 
I’ve had words with Hans von Storch about this, but got nowhere. Another thing to discuss in Nice!”

Although replete with in-jokes and in-house references, I think this gives an overall flavour of what is going on here.
 
And despite the reluctance of the mainstream media to cover it in full, with a few noteworthy exceptions, I believe it demonstrates pretty conclusively the institutional deception taking place in order to perpetuate the hoax.
 
How much more evidence do we need to realise that the whole concept of global warming by human-caused CO2 emissions is a monumental fraud?

And so to conclude, yes, I am afraid it is all a huge hoax, a game to convince us that we are in danger of imminent disaster from the slightest warming of the planet and the only way to prevent this will be to give even more money to an already wealthy Elite group who care nothing whatsoever for you and your families, despite maintaining a thoroughly deceptive pretence to the contrary.

If you believe that the music and entertainment industry is there simply to entertain us and make money in the process for its artists, promoters and producers, please think again.

Popular music especially and its highly-paid exponents are merely pawns of the Elite and are there in order to further manipulate our minds – especially those of impressionable youth and now even young children.

There is a long history of manipulation in the music industry, going back many, many years.
 
The music ‘business’ itself has actually been around since medieval times, but can only be referred to as a true ‘industry’ since the early nineteenth century with the simultaneous developments of the orchestra, the employment of conductors and certain publishing and printing innovations that allowed music to be easily transcribed, passed-on from person to person and to be sold as sheet music.

In the early eighteenth century, there is recorded to have been around 8500 composers of music in Europe alone and yet around 8400 of them, despite the fact that their music may have been brilliant or innovative, have never had their music extensively published or played, other than in small, localised concert halls and much of it is today now long-forgotten, lost or deliberately buried.
 
Why should this be?
 
Mainly because, as today, the music industry then had its favourites and certain personalities including the likes of Mozart, who whilst feted as a celebrity of his time, probably did not compose much of the music attributed to him then and since.
 

Mozart was simply a manufactured ‘focal point’ in effect, upon which the money-interests of the music business of the time could focus and from whom it could derive its profits, as was Beethoven.
 
This may well sound cynical and possibly unbelievable, but I can assure you that it is true.
 
How similar to today then?
 
Today’s music industry is rife with such characters, people who have been chosen and indeed ‘created’ to be focal points and the personalities, celebrities if you will, who carry the burden of providing profits for an intensely money-focussed industry, ultimately regardless of the degree of talent they may or may not possess.

Musical history does not wish us to be aware of this fact; it just wishes to continue to promote the popular icons of the day, focussing on an artificially generated, elite group of composers who with the passage of time have been placed on pedestals and thus made immortal, just as many famous rock stars have been made the ‘saints’ of the new religion that is music, today.

The involvement of occultists in the creation of the ‘superstars’ of their day, such as Mozart, Beethoven and Haydn, cannot be ignored.
 
Indeed the occult influence in music has always been a factor and today is absolutely rife throughout the whole of the music industry.

There is also a long history of connectivity from music to mind control going back to the 1950s when ‘pop music’ in its present form was first pushed upon an unsuspecting world by the mass-manipulators of the Frankfurt School and the Tavistock Institute and many performers, singers and members of bands are manipulated into promoting a satanic agenda by recording labels and producers who are also ‘up to their eyes’ in the deadly scheme.
 
Is it at all artistic for people to sing about pain, suffering, death, sadness and despair in such quantities and who would want to taint the formerly beautiful art of music with such things?
 
It is actually an essential aspect of the latter-day degeneration of music and the lowering of consciousness.
 
This works in the same vein as film and television programmes that seem to have now evolved into excessively depressing and/or violent experiences for the viewer, even for very young children who are being increasingly exposed to overt sex and violence and when those few who still actually care about such things complain or point it out they are often labelled as a ‘prude’ or ‘old-fashioned’.
 
Often today music is excessively depressing, replete with songs contain lyrics extolling the virtues of extreme selfishness, greed, violence, death, suicide and murder.
 
And this is not just in heavy metal (the previous chief culprit) any longer but has now been expanded to all forms of modern music even the ‘middle of the road’ ballads aimed at the younger, more impressionable generation.
 
Even fun ‘children’s’ pop music, the likes of which our children and grandchildren listen to all the time, is not immune and is often riddled with overt, sexually explicit and satanic and occult lyrics.

Interestingly, a huge number of artists have commented publicly and even composed songs about literally ‘selling their souls’ to the devil to further their musical careers.
 
Many well-known rock artists are well-versed in the occult and are aware that spiritual entities and multidimensional 'demons' can manifest themself through music of a lower vibrational nature.
 
They have admitted that they use rock music and the rhythms, the lower guttural tones, and their insidious lyrics to lower the vibrational levels of concerts and thus their attendees.
 
They have also even admitted countless times that they are possessed by their own music and have little control over where these vibrations lead them.
 
This is typical of almost any satanic 'ritual' or practice; the lowering of consciousness and allowing lower vibrational entities to control a person.
 
These practices often lead to complete loss of control and it was well known to the people at the last Woodstock anniversary concert that a form of ‘bad energy’ had manifested itself throughout the huge audience following many hours and days of extremely heavy, depressive and violent songs.
  

This information emanates from many sources; there have been many books written and several films made on the subject and many well-known artists have been exposed and even admitted themselves that this is taking place.
 
However, the idea that rock music is a tool of the 'devil' has been pushed so relentlessly by religious leaders and evangelists that people are now more often likely to laugh at or mock the idea, rather than take it seriously.
 
Nevertheless, well-known musicians are often reported as admitting to the practice of Satanism and their friends or colleagues will often mention that they have multiple personalities and that 'what you see on the stage is not really that person'.

Unfortunately, rock and pop music has become mostly a grossly degenerative art form.
 
Some musicians are exempt from this tag, but the music industry contributes to this view generally by actually enhancing and promoting the popularity of the 'heaviest' bands or the most emotionally depressing artists.
 
The rock music of today is several magnitudes darker and more depressing than Led Zeppelin, Black Sabbath and other well-known ‘devil-rockers’ of past decades and at the time these bands were considered the very epitome of evil by the deeply religious.
 
Heavy metal music has now become almost completely demonic per se and many performers revel in this fact, openly flaunting it.
 
It is devolution of society and the art of music for the purpose of lowering the vibration of the consciousness in order to manipulate the youth of today into fulfilling the purposes of the Elite.
 
It is, in short the next baby-step on the road to the complete undermining of human society and the human psyche in order to exert control over minds.

As I say, many artists are aware of this and some became aware of the fact that they have been manipulated by the music industry or began to recollect memories of their brainwashing, either through the military or through 'handlers' who often happen to be their manager.
 
These are often the artists we know to have so famously died by 'drug overdose' or have suffered other strange deaths.
 
Many of these artists have either confided before their deaths in individuals who would later relay this information to those behind the scenes in the music industry or indeed may even ‘go public’ with their knowledge as did Michael Jackson shortly before his untimely demise at the hands of his ‘doctor’.
 
Jackson had been telling anyone and everyone during the period prior to his death that the CEO of Sony, Tommy Mottola (who by the way virtually owned Jackson body and soul, if not actually literally) was ‘the devil incarnate’.
 
A metaphor or figure of speech?
 
Maybe, maybe not.

The deeper that one delves into this murky pit, the more one realises that the 'musical greats' are often occultists with exceptional talent and who are intentionally using that talent to manipulate the consciousness of listeners.
 
However, I also believe that many of the ‘household-name’ musicians early in their careers are lured into a subtle trap baited with money and fame but then once their handlers in the recording companies completely sink their claws and teeth into them, they realise that they are caught, with no possible escape route and thus are condemned to continue with their charade for the rest of their careers, which often ends prematurely for one reason or another.
 
The premature end to musical careers can and does occur for several reasons.
 
Obviously, there are some genuine cases of accidental drug overdoses, but I am equally sure that some of these are murders and some suicides.
 
But we need to ask the question as to why drug overdose and suicide (murder?) is so prevalent among this group of people?

There is so much information on this topic that could be included, that to do it justice would really justify a book in its own right.
 
The number of examples of the satanic nature of the entertainment business is truly staggering and so we will concentrate on a few specific examples and events, but please bear in mind that this is only the tiniest sliver of ice on top of the very tip of an extremely large iceberg.

Premature death seems to be an occupational hazard amongst so-called celebrities in all fields.
 
Again there are many reasons for this, some of them even genuine ones, but there are also many suspicious ones, some of them extremely suspicious bordering on the blatantly obvious.
 
As stated above, Michael Jackson would fall neatly into that particular category, as would Whitney Houston who died shortly before my writing of this chapter in early 2012 and as the most recent incidents tend to be the ones that are freshest in the mind, let us concentrate on that particular one.

“It’s a very predictable pattern that happens with all famous artists. They become valuable commodities.
 
If they were shares, you would see Bay Street buying them up and fundamentally, it’s the realisation that it’s the end of the artist’s productivity, that they won’t produce anything more that sparks the buying frenzy.”
 
Theo Peridis, professor of strategic management at York University

Regarding Whitney Houston’s recent sad demise (11th February 2012) and as with any other recently deceased ‘megastar’, it is a fact that the record company stood to gain massively in terms of vastly increased sales, albeit short-term.
 
However how much better for them to have a short, one-off major boost than a long, lingering virtually profit-less demise to any artist’s career?

The 2012 Grammy Awards took place shortly after the sudden, mysterious death of Whitney Houston.
 
As the old tradition would have it, the show went on nevertheless, but not without an abundance of strange symbolism and ritualism that made it extremely clear that there is a definite ‘dark side’ to the entertainment business.
 

Upon the analysis of the facts surrounding Whitney Houston’s death coupled with the symbolic elements of the 2012 Grammy awards, the entire event has the look and feel of an occult ritual, complete with a blood sacrifice, a celebration and even a ‘re-birth’.
 
Some of the things described below were pre-planned, while others were possibly just odd coincidences.
 
Let us now examine the most significant events that happened during the fateful weekend of Houston’s death.