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  #1091  
Old 10-28-2007, 07:53 PM
BlueAngel BlueAngel is offline
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN


Springsteen certainly promotes homosexuality, sexually deviant behavior, fires, cutting people in half, etc., etc., etc., throughout his lyrics.

It's difficult to imagine the number of people who wander this planet in a FOG due to their constant exposure to music/songs/lyrics, which can produce a hypnotic effect. Certain messages, repeated over and over again become buried in the subconscious and can be called up with triggers that can be contained anywhere, as long as the target can see them, hear them.

Music is piped in everywhere we go.

It is similar to the techniques used when "mind control" programming a victim in MKULTRA/Project Monarch.

Keep in mind that we begin listening to music at a VERY, VERY YOUNG AGE.

Particularly, children's shows, DISNEY related animations, etc.

So, basically our perception of reality is altered from the moment we are born.

Before the age of five is crucial.

It's difficult to imagine the number of people who walk this planet in VERY suggestible states of mind due to their constant exposure to music and repetition of lyrics.

HYPNOSIS = High state of suggestibility.

Very easily coerced.

Changes one's perception of reality.

Subconscious is tapped and the CORE is not totally in control.

It's difficult to imagine the number of people who were subjected to mind control trauma-based programs; who are walking this planet and may be programmed to act upon specific "triggers" contained within lyrics to songs, musical tones, print, media, television programs, etc.

In other words, it it not beyond the realm of possibility that when in a high state of suggestibility, altered state of consciousness, in a FOG, so to speak, that a mind control victim and even those who are not mind controlled, but just having been subjected to that which I've explained, act upon triggers without contemplation.

This, of course, is true, as well, when speaking about programming directed at children with respect to violence and sexual promiscuity via video games, the big screen, music videos/lyrics, and the perpetual decline of a moral society which is something they are exposed to on a daily basis.

Social engineering.

Changing the biological and physiological chemistry of a human through mind control programming.


Last edited by BlueAngel : 03-28-2015 at 02:22 PM.
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  #1092  
Old 10-31-2007, 11:34 PM
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

Prince Rogers Nelson was born in Minneapolis, Minnesota at Mount Sinai Hospital on Saturday June 7, 1958 to John L. Nelson and Mattie Shaw. John was a pianist and songwriter. Mattie was a singer. He is named after the Prince Rogers Trio, his father's jazz band. As a boy, he was called Skipper. There are a number of myths regarding Prince's ethnicity, some spread by Prince himself. In fact, according to an April 28, 1983 Rolling Stone article, Prince's father is African-American and his mother is herself multiracial, with Egyptian, African-American and Italian-American ancestry. After the birth of his sister Tyka, in 1960, Prince's parents gradually drifted apart. After they formally separated, he had a troubled relationship with his stepfather, causing him to run away from home. He lived briefly with his father, who bought him his first guitar. Later, Prince moved in with a neighborhood family, the Andersons, and became friends with their son, Andre Anderson (later called Andrť Cymone).
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  #1093  
Old 11-01-2007, 09:51 AM
BlueAngel BlueAngel is offline
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

Iím suffering from an acute case of Brucelash. Springsteen and the "Yeesh Theyíre Looking Pretty Old Band" (sorry, I mean ďthe E Street BandĒ) are seemingly everywhere lately, in support of their recently released and much ballyhooed album, Magic. In the last couple weeks, Bruce and the band have appeared on the Matt Lauer Snarky Time Happy Hour (also known as the Today Show), and Springsteen also appeared on 60 Minutes in a carefully crafted interview that reinforced the familiar Springsteen public persona (portrayal of said musician as an approachable and humorous man-of-the-people despite millionaire status? Check. Musings on what it means to be an American? Check. References to working class background and childhood in New Jersey? Check).

The critical response to the album has been extremely positive. On this very website, several contributors have sung their praises for the album on a few occasions, though I suspect that they might be/could be/maybe could be/just a little bit possibly are somewhat predisposed to like the album regardless of its actual content. Even the usually difficult to please Pitchfork gave the album a positive review, and that website usually saves its most enthusiastic praise for the following: anything Radiohead does, any band that features a Japanese woman sputtering out sentence fragments over music that sounds like a 1980s sitcom theme song, or any band whose name is either a declarative command or could be mistaken for a line of poetry from a female college student. As I checked out the album at a local retail store, a store employee approached me, and in breathless, hushed tones, told me the album was one of the greatest things heíd ever heard. His praise was so excessive I felt like I was holding a sacred relic upon which I should not even look, lest its sacred glow permanently blind my eyes.

Yet I still cannot bring myself to seal the deal and buy the album. I think I know why.

First, all this effusive praise is vaguely familiar: similar plaudits were lauded upon Bruce and the boys when The Rising was released a few years ago. Based on these reviews, I purchased the album and was supremely underwhelmed. Listening to it again recently, what surprised me most is how many of the songs sound dated; they suffer from a production approach that somehow seems both sterile and over-saturated at the same time. Looking back on the album now, Iím convinced the positive response for the album can be attributed to both an initial enthusiastic response to Springsteen and the band releasing an album together after many years away from each other, and, on a more serious note, because the album was seen as one of the earliest artistic works that addressed (however implicitly) the events and after-effects of 9/11.

The second issue thatís preventing me from buying the album and joining the angel band in song is the Santana factor. Let me explain. In 1999, Santana released Supernatural, which was touted as his best album since the Paleolithic era. The album caught on like wildfire. It sold 9,999,999,999,999 copies. It was required listening in grade schools across the country. It won countless awards and was anointed as the most important work of artistry since The Great Gatsby. It landed the musician a soft drink endorsement. It revealed that ďthe dude from matchbox 20Ē had an actual name. Everyone was enthralled with Santana, the super-cool aura he exuded, and especially, his truly remarkable porn-stache.

Of course, the mania around Magic has reached nowhere near the level of hysteria for Supernatural. The marketing push given to Springsteenís album doesnít come close to the push that Supernatural received (you couldnít breathe air or fear Y2K in 1999 without seeing Santana on the television or hearing him on the radio). Still, I canít help but think that some of the touchy-feely humping being thrust upon this album is at least partially a result of a careful marketing plan (select interviews, positive press, and a full-scale arenas-only world tour), and partially the result of many fansí desire to see Springsteen and the E Street Band back together again, reliving their (here it comes!) glory days.

The final factor thatís currently preventing me from throwing down some baksheesh for this album is the simple fact that I can count the number of Brendan OíBrien-produced albums that I like on approximately, oh, three fingers.

Finger 1: Devils. Finger 2: and. Finger 3: Dust. I will readily admit there are many albums produced by OíBrien that Iíve never heard; Iím sure Iíll get around to checking out Dynamite Monster Boogie Concert by Raging Slab and Waste of Skin by Spike 1000 one of these days. However, of the albums Iíve heard, Iíve always found them overproduced and overpolished. OíBrienís albums remind me of someone who smiles all the time; sure, itís reassuring and non-threatening, but after a while, itís just obnoxious and annoying. Then again, maybe Iím turning into a cranky music snob and cannot see the merits of Drops of Jupiter by Train or Significant Other by Limp Bizkit.

I want to buy Magic, give it a full listen, and say that itís among Springsteen and the bandís best, on par with Born To Run and Darkness On The Edge Of Town. At their best, Bruce Springsteen and the E Street Band are a force capable of making grown men weep, making the sky rain, and making the bad girls go good. Iím sure at some point in the coming weeks my Brucelash will end and Iíll buy the album. But right now Iím having a difficult time convincing myself this thing is something more than, at best, an overrated album, or, at worst, a polished turd whose stink is being masked by criticsí and fansí enthusiasm to see Springsteen and the band rocking again like itís 1978.

Written by Eric Whelchel
Published October 11, 2007
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  #1094  
Old 11-02-2007, 04:30 AM
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

Prince and Anderson joined Prince's cousin Charles Smith in a band called Grand Central, formed in junior high school. Initially his involvement was just part of a mainly instrumental band, that played clubs and parties in the Minneapolis area. As time went by and Prince's musical knowledge broadened he found himself dictating the arrangements to the rest of the band. Before long he had become the band's front man. By the time Prince had entered high school, Grand Central evolved into Champagne and started playing original music already drawing on a range of influences including Sly Stone, James Brown, Jimmy Page, and Jimi Hendrix. At some point Prince was a student at the Minnesota Dance Theatre
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  #1095  
Old 11-02-2007, 03:16 PM
George_Bush George_Bush is offline
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

Quote:
BlueAngel wrote:
I had sex appeal, a stage presence, lyrical ability and knew the moves that were taught to me. I was being trained.

They could have worked with my voice and musical abilities.

I decided I'd rather live with GOD than the sell my soul to the Devil.
Wait, this not correct. You DID sell your soul to Lucifer!
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  #1096  
Old 11-03-2007, 04:27 PM
redrat11 redrat11 is offline
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

?



http://vdare.com/guzzardi/071102_borders.htm
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  #1097  
Old 11-04-2007, 08:40 AM
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

People have different notions of these values, and they live them out in different ways. I've tried to sing about some of them in my songs. But I have my own ideas about what they mean, too. That is why I plan to join with many fellow artists, including the Dave Matthews Band, Pearl Jam, R.E.M., the Dixie Chicks, Jurassic 5, James Taylor and Jackson Browne, in touring the country this October. We will be performing under the umbrella of a new group called Vote for Change. Our goal is to change the direction of the government and change the current administration come November :lol:
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  #1098  
Old 11-06-2007, 09:00 AM
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

When I listen closely.
Outside the window.
I hear a shovel.
Gently scraping on the concrete.
Gently tapping after the scraping.
A strange sound
In the darkness of the day
What ever fore is that shovel scraping
Will it scrape for as long as this God foresaken thread.

Will I ever see this message again as BlueAngle will probably shit 50 pages of crap onto this thread before I come back.

More to the point, will I care as the shovel gently scrapes?
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  #1099  
Old 11-15-2007, 12:33 PM
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

This took a while to find out as very little is on the internet but plenty in print at my local library.

I got interested in this after one of your previous messages here that I actually read and decided to google an aspect of it. As I suspected, there was very little information and was not about Bruce, but it was interesting so I pursued it a bit.

There is a line in a song that was taken out after a female groupie went on to a fan forum and made some acussations that the line alluded to.

The musician in question as well as the rest of the band decided to go on with it as the groupie was a flake with problems both mental as well as drugs. But the manager as well as the record company played a much more cautious approach and told him to take the line out as they did not want such controversy to tarnish the musicians image as well as the groups drummer.
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  #1100  
Old 11-20-2007, 09:30 AM
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Default Re: MIND CONTROL, THE MUSIC INDUSTRY AND BRUCE SPRINGSTEEN

When exactly were you a groupie? Was Soozie Tyrell touring at the time?
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