all signs lead to death.
i think we have discussed this some time ago, dear michael; but this fact becomes more and more clear the older i get, and as the days pass. at this point though, i’m not even talking about physical ‘death’; there is a spiritual death approaching at rates so fast that it feels uncontrollable.
physical ‘death’ is inevitable. however, when we leave this earth, remnants of us still appear, either through others’ memories of us, or through physical things we have left behind. what happens with these things is where the true death occurs- when our messages and legacies are tampered with.
i do my best to study diligently. there may be some things i don’t always get right, but i know that my intentions are about respect, so i do my best to correct what needs to be corrected. the more i study though, the more i receive visions.
before i got out of bed i had another dream… this one again, involved my sister. we lived in a small apartment together, with another person (whose face seems familiar, but not really (these types of dreams have also been happening with greater frequency- the third familiar, yet mysterious person)). the walls of the apartment were white, with a lot of corners. the place was small, but spacious enough for three people living together. we never seemed to get in each other’s way.
this third/mysterious person invited their father over. he was older, with a full, graying beard. he was quite talkative, and nice enough; but i felt a strange sensation from him. in the course of the dream our house-mate quietly revealed that his father worked for the government. as soon as i was told this, it clicked. as soon as it clicked i turned around, and the man brandished this new radio he got over his lap. it was quite a large radio, with a lot of features. he boasted of the features, as he surprisingly let me place it in another part of the apartment. struggling a bit due to its weight, i carried it into the thin doorway, placing it between my room and the bathroom. as i placed it on the floor (the radio blaring away) i noticed some kind of light or signal go off. i then realized this man was spying on us.
and then i opened my eyes.
we are inundated with so many sounds, images and words it’s difficult to decipher what is and is not good for us sometimes. those whose messages may come with positive intentions may also be working towards coercive measures. i am seeing so much of this happening with your legacy.
just as i predicted, a lot of what is happening with your legacy is coming to a head. this is only the beginning. when 25 june happened, there was virtually no information, except from TMZ (this is the first sign there was suppression about what went on). even the so-called ‘reputable’ news sources used TMZ as a source for breaking news. there was never a clear picture of what was occurring. you were in a coma, you were not in a coma. you ‘died’ at home. you ‘died’ in the hospital. you had a heart attack, you had a cardiac arrest. the word was not official until your brother jermaine (with thome thome behind him) announced your transcendence. another red flag which went off was that there was no official police or hospital announcement. it came from jermaine. being such a high-profile transcendence i would think that other interests would be involved. when the police were interviewed about the case, they had no clue as to what was going on.
the police affidavit contradicted other times conrad murray was interviewed. the autopsy report contradicts the police affidavit. the autopsy report AND the affidavit contradict the phone call murray gave to the emergency dispatcher. THIS IS THE POINT I BEGAN TO FOLLOW AEG’S ROLE IN THIS CASE. and that is exactly when the signs became very clear.
but not as clear as i wanted them to be. i continued to search for some record of AEG’s role in your murder, because so many things were pointing to them. my instinct was telling me this. murray has been a confusing factor in this situation, as he became an employee of AEG through your insistence. however, from looking at his letter of brief resignation from his own practise in texas, he was obviously swayed by the financial opportunities received through employment with AEG, as your personal doctor. with that, i began to think of him as being a major link in the chain of events. i still was not satisfied, because there would be no way he would be the only person implicated in this murder. however, he was the major face on that fateful day, so all fingers pointed toward him.
that did not feel right to me. and it certainly didn’t feel right that la toya, randy and joseph claimed there were others involved, yet did not name names. by remaining mysterious you don’t look credible. i am sure they know that. one of the few people to single out AEG, john branca and other individuals in terms of being implicated in your murder was majestik the magnificent. i am not the greatest fan of that guy- he’s opportunistic and ego-based. however, he’s one of the few who actually remains consistent on following up on this case. unfortunately, those who are speaking the loudest are not credible to your fan base. so they aren’t listening. and AEG would rather have it this way.
AEG is making sure your ‘drug issues’ are a huge factor in your transcendence, so as not to bring attention to the content of the contract which you signed with them. or the history between yourself and that organization, leading to that contract being signed. their claim is that they tried to help you, and you refused to receive help. they will continue to milk this, in order to discredit those who actually have a case against them. these critics will continue to lose favor with your fan base, and they will continue to attend AEG events, to ‘celebrate and remember your legacy’.
when sony purchased the rights to distribute ‘this is it’ suddenly they felt they could speak on behalf of AEG. of course, this takes responsibility off of them and they can then again focus on their next major plans. when your father went against AEG and stated there were impersonators used in the movie, sony spoke, claiming there were none. another red flag, out of many, went off… as far as i know, there were no major executives from sony at the rehearsals, so how would they know- they are essentially seeing footage.
and of course, there’s that pesky $250 million deal sony made with the so-called ‘estate’, claiming to represent you and your legacy. this deal covers ‘this is it’, plus video games, DVD collections- and, of course, album releases. news of said posthumous albums have been stated for the longest time since your transcendence, but i simply expected a cashing in. i was vehemently opposed to any of these releases from the beginning. what i see developing though, this collaboration between sony and AEG is worse than i could have even imagined. this leads me, more than ever, to the conclusion that both organizations are implicated in your murder, and conrad murray was being used, and he didn’t even know it. his greed got him into this mess. and now he must pay the consequences.
before i even get into their collaboration, i want to say that my suspicion was further piqued when news of oprah winfrey interviewing your parents (AND YOUR CHILDREN) appeared. her judgments on you in terms in relation to the charges of child molestation notwithstanding- or maybe even BECAUSE of it- she made the conscious decision to exploit whatever grieving your family still may not have yet dealt with. she also made the decision to exploit whatever issues your family has; either with sony, or the so-called ‘estate’. again, i may have many issues with how your family chooses to treat your legacy as well; but i also think it’s uncalled for to pack yourself and your crew up in the house to interview them. i’m not sure if your parents were seeing dollar signs, or if they thought they were going to clearly get their side of the story out. all i know is that YOUR CHILDREN being involved in this process is clear exploitation, and a huge mode of disrespect to you, as a father who wanted his children to not be the recipient of excessive media attention. since your transcendence they have been thrown out into the public world, at the expense of the loss of their father. it’s as if we collectively forgot that THESE CHILDREN LOST A FATHER. all we want to see is their response to their feelings on losing ‘michael jackson (TM)’.
okay… so, we have this $250 million dollar deal; we have ‘this is it’, we have the ‘experience’ video game, we have the winfrey interview, we have the upcoming album- am i missing anything? ah yes… cirque du soleil.
this news has also been a long time coming, since your transcendence. it’s like you were still warm as they were making these deals. a friend of mine told me, “when you told me about the cirque du soleil thing, i didn’t think it was THAT bad. but now i see…” it was a few days ago when the official news of the cirque du soleil tour appeared, after months of media speculation. of course, i got more than a few e mails about this news (as well as about this upcoming album, but that’s coming up soon). when i saw the image on the site’s page, i just about threw up… there was a point i was discussing this image with my friend, i got so upset i almost cried. i had a violent internal physical reaction upon looking at the images… similar to when i received all of these messages about the ‘upcoming album’, and observed the image attached. all i said was, ‘these people are serious. they are not messing around.’
in thinking about this, i instantly thought of the notion of ‘manufacturing consent’ (distributed by pantheon books in 1988), which noam chomsky and edward herman based a book on.
The mass media serve as a system for communicating messages and symbols to the general populace. It is their function to amuse, entertain, and inform, and to inculcate individuals with the values, beliefs, and codes of behavior that will integrate them into the institutional structures of the larger society. In a world of concentrated wealth and major conflicts of class interest, to fulfill this role requires systematic propaganda.
In countries where the levers of power are in the hands of a state bureaucracy, the monopolistic control over the media, often supplemented by official censorship, makes it clear that the media serve the ends of a dominant elite. It is much more difficult to see a propaganda system at work where the media are private and formal censorship is absent. This is especially true where the media actively compete, periodically attack and expose corporate and governmental malfeasance, and aggressively portray themselves as spokesmen for free speech and the general community interest. What is not evident (and remains undiscussed in the media) is the limited nature of such critiques, as well as the huge inequality in command of resources, and its effect both on access to a private media system and on its behavior and performance.
A propaganda model focuses on this inequality of wealth and power and its multilevel effects on mass-media interests and choices. It traces the routes by which money and power are able to filter out the news fit to print, marginalize dissent, and allow the government and dominant private interests to get their messages across to the public. The essential ingredients of our propaganda model, or set of news “filters,” fall under the following headings: (I) the size, concentrated ownership, owner wealth, and profit orientation of the dominant mass-media firms; advertising as the primary income source of the mass media; (3) the reliance of the media on information provided by government, business, and “experts” funded and approved by these primary sources and agents of power; (4) “flak” as a means of disciplining the media; and (5) “anticommunism” as a national religion and control mechanism. These elements interact with and reinforce one another. The raw material of news must pass through successive filters, leaving only the cleansed residue fit to print. They fix the premises of discourse and interpretation, and the definition of what is newsworthy in the first place, and they explain the basis and operations of what amount to propaganda campaigns.
(the bold lettering is my emphasis)
through sony and AEG’s claims of inaccuracy toward your mother (as well as feeding off of fans’ notions that they ‘know you’ well enough to know there were no impersonators involved in the process), they are able to discredit her (and other critics) through their media onslaught. they are able to utilize whatever resources they have to convince the public that they have your best interest at heart. i mean, they even got ‘voice authentication’, right?
this is starting to look like the ‘extensive medical exam’ you got- and passed with flying colors- in order to do this 50-date residency in london. conveniently, this documentation is nowhere to be found. i would like to see proof of this ‘voice authentication’. “The mass media serve as a system for communicating messages and symbols to the general populace.”
the images! oh, dear lord. before i even tell you i must collect myself. and i must also say that i made a connection between them, and the work of fritz lang- namely ‘metropolis’. it’s fairly obvious to say that film lent some inspiration to you, namely the wardrobe on the opening act of the HIStory tour… i think about the ways in which technology constantly changes our relationships- to ourselves and to others- but the need to be loved and respected remains.
lang’s story is interesting as well- he was raised catholic, but his mother was an eastern european jew. he never acknowledged the jewish side, and as the nazis came to power he had hoped that this would never be revealed. he fled germany in fear. however, before he fled, perhaps based on fear of being found out, he joined the NSDAP (the national socialist german worker’s party) with his wife. he was approached by propaganda minister joseph goebbels, to become the head of universum film AG (or UFA). goebbels supposedly took a liking to his work, including ‘metropolis’, which was made in 1927, a few years before the hitler regime took hold. ironically, lang’s film ‘the testament of dr. mabuse’ (1933) was banned by goebbels, due to the belief that it would incite some sort of rejection of authority.
image is everything though- when you came out in the ‘machine man’ costume, then ripped it off, then performing ‘scream’ and ‘they don’t care about us’ subsequently; i saw a lot of value in this. as the ‘machine man’ in the film was an aspect of a mind control experiment, thus confusing the workers and starting riots; you kicking open the door of your MJ-2040 ship to this new world/planet; then ripping off the breast-plate and mask in what appears to be a symbol of de-programming and freedom (after travelling in your spaceship and observing world events from your vantage point) is quite telling, in light of the two songs you open the set with. were you one of the ‘thinkers’ sent to speak to the masses/the workers/your fans to warn them? to be the ‘mediator’? who knows. one can only hope…
“…communicating messages and symbols…” there were many things you also did which were symbolic, which are your most well-known: the glove, the high-water trousers, the wrist brace, the tape on the fingers, the arm band… some of these symbols were utilitarian (the wrist brace), others were dramatic or performative/suggestive (the trousers with the white socks). some of these symbols were vocal, some were movement-based. some symbols (such as the glove) were originally autonomous from the message; eventually the symbol became synonymous with the message.
in terms of this connection between ‘metropolis’ and the images conjured up by sony, AEG and the cirque du soleil folks, i imagine you to be the ultimate ‘machine man’… i instantly am reminded of this piece here: http://www.bloomberg.com/news/2010-06-24/michael-jackson-money-machine-tops-250-million-on-anniversary.html
the piece is entitled: ‘michael jackson money machine tops $250 million in past year”.
“The wall-to-wall TV coverage today will show candlelight vigils and weeping admirers. Meanwhile, off stage, some really happy folks are counting the winnings.
The King of Pop, we’ve just learned, is worth more dead than alive, with his estate earning more than $250 million over the year. Billboard totes up $1 billion in revenue.”
interestingly, in the same article, this was written:
“For those seeking 15 minutes of fame or wanting to pay their last respects, the place to go is Forest Lawn Cemetery in Glendale, California. Be advised that you can leave flowers though you won’t be allowed too close to Jackson’s tomb and must behave respectfully. It’s as if he’s still alive, really.”
symbolism is everything. even mark beech, the writer of this piece, in all of his snideness, has subconsciously realized that you are not at forest lawn (where fritz lang happens to be buried). media let this slip out by stating that the family is secretive about where you are (even though you are supposed to be at forest lawn, right?). the other thing which gave this away is the refusal to let people so much as even go near the mausoleum (which does not have your name on it).
however, if any of the ‘death hoax’ community saw this piece (and they may have), they would have a field day. in terms of being a ‘machine man’, you were quoted by randy phillips (the face of AEG live) as saying, “Look, this whole business revolves around me. I’m a machine, and we have to keep the machine well-oiled.”
it appears as if sony and AEG took your statement very, very seriously.
michael, it is taking me a long time to get to these images- the cirque du soleil and the album- because there are way too many things to make connections with. i suppose time is of no issue for you where you are though, but time is so urgent here! people must know how your legacy and your teachings are being tampered with.
i think these images are a huge factor in the narrative which leads to your murder. it pains me just to even begin writing about this… partly because i know that i am but one person, and i cannot stop THEIR machine alone. i do know that it is possible for one person to effect change, if that person remains persistent; but theirs is a propaganda machine so steeped in public (sub)consciousness that i feel so small in this mass web. and my cries go unheard or ignored by those who ‘just want to hear the music’. and sony and AEG are there to give it to ’em. right on time.
the upcoming album (entitled, simply, ‘michael’) and the cirque du soleil show (entitled ‘the immortal world tour’, along with its tag-line “his tours made history. in 2011 his legend lives on”) are definitely going to fuel the fires of the ‘death hoax’ community. it’s already begun.
the thing which set me off in these two images, promoting both the album and ‘tour’, is the MONARCH BUTTERFLY prominently and conveniently placed beside you. i don’t ever recall a monarch butterfly being prominent in your art like that. doves, flowers, angels, children… but no MONARCH BUTTERFLIES. in fact, in the cirque du soleil piece there’s about 4 or 5 fluttering around you.
this piece(http://news.yahoo.com/s/nm/20101105/en_nm/us_michaeljackson)which speaks on this upcoming album, states:
“The album cover artwork features two naked cherubs placing a crown on Jackson’s head against a mural depicting the singer throughout his career. It comes from an oil painting by Kadir Nelson, who told Reuters via email that Jackson approached him several years ago to create a project detailing his life and career. The project stalled, but was revived last year by one of the estate’s executors, John McClain. Most of the work was done during a five-month period through last month.
“Michael wears a golden suit of armor and stares at the viewer as he is crowned by cupids,” Nelson said. “He places his hand over his heart and looks directly at the viewer, a symbol of Jackson’s big heart and strong connection to his fans and music. A MONARCH BUTTERFLY (my emphasis) sits on his shoulder, another symbol of Jackson’s metamorphosis as a singer and entertainer, as well as a symbol of royalty. His musical history unfolds behind him.”
in this image (where you have a bejeweled hand over your heart) i see a symbol of loyalty to the monarch(y)- which may as well be sony. the message, to me, being sent is: “you owe us- we made you a millionaire. you are royalty because of us.”
the significance of this butterfly should never be ignored. according to ron patton in his piece ‘project monarch, nazi mind control’ (http://www.bibliotecapleyades.net/sociopolitica/esp_sociopol_mindcon02.htm), “There is also a symbolic representation pertaining to the transformation or metamorphosis of this beautiful insect: from a caterpillar to a cocoon (dormancy, inactivity), to a butterfly (new creation) which will return to its point of origin.”
in your physical presence on this earth, it was as if you were ‘dead’ to them, as you worked to expose them. your ‘product’ was no longer valuable, as long as they didn’t have full control over the man, the message, and most importantly, THE ASSETS. the $250 million deal took care of that. your metamorphosis is sold as a commodity, beyond their wildest dreams. and they could not have done that if you were still here. through working to prove that they have your best interests at heart, they hawk all these products to the public, still hungry for some semblance of your physical self, in the process, “…desensitizing the majority of the population, using subliminals and neuro-linguistic programming”.
hence, the debate between whether or not this upcoming album is a fake, and the defense that ‘voice authentication’ was used. there was a ‘teaser’ which sony put out, and all you heard was a faint scream at the end, before the ‘teaser’s’ fade. what does TMZ (with their sony ads on the top of their site) go and do? prompts a debate (with a survey) to see if people think that ‘scream’ is really yours. “The mass media serve as a system for communicating messages and symbols to the general populace.”
another distraction from the contracts and deals being made on the back of your teachings, and legacy. patton also writes that “programming is updated periodically and reinforced through visual, auditory and written mediums.” just as you were decisive in your art, these organizations are decisive in including monarchs in art depicting you.
those who may not be aware of how mind control programs infiltrate the arts, they may look at the butterflies as representing freedom. however, in looking at album covers (and even tattoos) of some prominent artists, it’s not difficult to notice a pattern. especially when some of those connected with butterflies ‘go crazy’, as if a double personality exists. ‘monarch programming’ is an unofficial title given by those who were victims of this particular programming (who are tortured and are given specific vocal and physical triggers). the umbrella program is entitled MKULTRA, which the u.s. government (under the ‘directorate of science and technology’ branch of central intelligence) enacted in 1953. richard helms (director of the CIA during the whole experiment) ordered the documents to be destroyed; of course, some of the documents survived, and can be found on the internet.
people have prompted debates over whether the artwork on your records depicted images representing the ‘illuminati’, and so forth. i await the responses to this album cover, and the cirque du soleil art. because it is EXTREMELY clear. these are people creating this art for the sole purpose of controlling the sensibilities of the population, and mass-producing it, whilst no one bats an eye. so much of this information has been suppressed, that we ignore a ‘truth hidden in plain sight’, as they say. “you are reading too much into things”, i will most likely be told- that is, if anyone responds at all.
in terms of how you are perceived in the world of cirque du soleil, jamie king (one of the co-creators of the ‘tour’), said, in an on-camera interview: “i’m making sure that the audience gets exactly what they remember from michael, which is the iconic looks, from music videos… the show is a reflection of michael’s energy, his essence, and his spirit. i’m pulling from poetry, from his lyrics and his songs…” he then says, “so when people leave, i want them to leave, knowing something more about michael.”
people won’t be getting anything except for selective memory. and a bunch of explosions. i used to think at one time… i thought that after your transcendence people were beginning to look deeper into your teachings, into your human-ness. i see that people still want ‘the glove’. the showman. the spectacular fantasy.
they don’t want the man who spoke so eloquently at oxford about the need for the return of familial tradition; the man who, in the movie which was part of this $250 million deal, spoke of people not depending on the government to save us. they don’t want the man who decided to take it upon himself to utilize his resources to do something governments will not do, as they are too occupied with voting on how much money to spend on defense contracts.
again, i do not play when it comes to being a student. there are people who will talk, and talk and talk (and discredit others who speak out) and congratulate themselves in order to distract, and propagate their sales, based on a deceptively romantic image of ‘the king’. as they do this, they are watching all of us, recognizing who the ‘workers’ and who the ‘thinkers’ are. and anticipating our collective spiritual ‘death’.
but i know that i (and there are others out there, i know it) must represent life. and counter their mission. for we aim to be the ‘children of the light’, amidst their darkness.
What an insightful and tender piece of writing, equal parts expose and elegy. The attention to how consent is manufcatured by the media raises important concerns about mediation and reality, and I would only encourage Appolonia to examine these phenomena ever more closely. In this world of screens, it is increasingly challenging to get our bearings; the optimism of a correspondence theory of truth is simply no longer viable, as Wittgenstein’s ladder sails away in a cloudbank. Getting back to matter is a precarious business: where do all these surfaces lead in consumption’s glittering Versailles? The real erupts with the event that is death, only to be occluded as soon as: this man who is also a machine must keep on running, even after his glded gears have ground to a halt. The paradox of perpetual motion reveals itself here, where, bathed in moonlight, we gorge ourselves gluttonously on imaginary numbers.
“The real erupts with the event that is death, only to be occluded as soon as: this man who is also a machine must keep on running, even after his gilded gears have ground to a halt.”
sad, isn’t it?