Archive for the ‘Music’ Category

Decadence, debauchery and depravity poisoning a whole generation

Paul Joseph Watson
Infowars.com
October 25, 2013

 

Pop star Ke$ha, whose audience consists of pre-teen girls, says her vagina is haunted and had to be exorcised because she had sex with a ghost.

This is who a whole generation of young children and teenagers look up to as their idol.

Whereas Ke$ha thinks her vagina needs to be exorcised, in reality popular culture and society in general needs to be exorcised of talentless, satanic, occult-promoting pop stars like her, who are brainwashing kids with a poisonous message of amoral, vacuous, nihilistic depravity.

This article was posted: Friday, October 25, 2013 at 11:36 am

Source: http://www.infowars.com/moral-decay-of-america-pop-star-keha-says-her-vagina-is-haunted/

“Keep your nose to the ground and your eyes to the sky.”

JP

Watch the incredible video of legendary rapper Tupac perform with Snoop Dogg more than 15 years after his death.

 
Return: Fans of the rapper were overwhelmed by the hologram
                                                     Return: Fans of the rapper were overwhelmed by the hologram
                                                   

Legendary rapper Tupac Shakur was brought back to life with a giant hologram at Coachella.

The deceased hip-hop star performed a song by himself before collaborating with Snoop Dogg, who was headlining the massive California festival.

Together they sang Come With Me, Gangsta Party and Hail Mary – a song that Tupac has never performed live and was released after his death more than 15 years ago.

Tupac, who was shot dead in Las Vegas in 1996, looked remarkably lifelike.

A hologram of deceased rapper Tupac Shakur at Coachella
                                                    Conspiracy: Some people believe that Tupac is still alive
                      

Bare-chested and wearing a pair of jeans that looked circa 1995, the famous ‘Thug Life’ tattoo was seen clearly across his front.

The high-tech 3D image of the late star, which cost a reported $10 million, was used by Mariah Carey to perform five simultaneous concerts across Europe last year.

A hologram of deceased rapper Tupac Shakur at Coachella

Unveiled: Tupac performs Hail Mary for the first time

The hologram left everyone in disbelief with Katy Perry, who is at the festival, posting on Twitter: “I think I might have cried when I saw Tupac.”

And the late rapper was one of many special guests who joined Snoop on stage.

Dr Dre and Eminem turned up to perform Forgot About Dre, I Need a Doctor and Till I Collapse.

A hologram of deceased rapper Tupac Shakur at Coachella

Final goodbye? This could be the last time we see Tupac perform

Warning: Bad language in video below:

Article Source Link: http://www.mirror.co.uk/lifestyle/going-out/music/tupac-returns-at-coachella-with-snoop-dogg-796455

JP

“Keep your nose to the ground and your eyes to the sky.”

The Whitney Houston funeral was not as normal as the television cameras revealed.  You would think a Baptist funeral would be free of any ancient Egyptian coffins?  In fact,  was it not Moses,  who was directed by The Most High, to liberate His people from physical and spiritual bondage from Egypt.  This was because ancient Egypt worshiped many deities (ehem…Jay Z) in conjunction with rituals which included group sex (including animals) and murder for worship. Now here is the million dollar question:

What in God’s name were two ancient Egyptian sarcophagus doing placed at the back doors of the Whitney Houston funeral service?

There is something greater than the understanding of the common people happening in plain view.  Another intriguing element is, this was not mainstream news.  Why didn’t the main stream news or their affiliates run a story on this?  It certainly is abnormal to have Egyptian coffins at the backdoor of a Baptist funeral, no?

There is obviously another secret religion at work here.  It it is linked to practices and rituals still in effect since Moses liberated the people from Egypt.  There is too much synchronicity surrounding Whitney Houston’s death referencing ancient Egypt and the occult.  If you have a better explanation I am open to it!

One month and 3 days before the death of Whitney Houston an ancient Egyptian sarcophagus was discovered.  This is where it gets really interesting.   The sarcophagus was discovered in The Valley of the Kings and the tomb is estimated to be 1100 years old!  There is the 11, again.  The mummy found within belonged to Nehmes Bastet, a daughter of the high priest of Amon who sang at a temple. She was considered to be a “diva” of her time.  When these ancient mummies are uncovered is there a finite amount of time to “ritualize” the intentions? Source

“She sang the praises of the god Amun in the 9th century BC – now she lies in a black wooden coffin in the Valley of the Kings.”

Why were the coffins placed at the Whitney Houston funeral? Was this Nehmes Bastet in one of the coffins and Whitney Houston in the other?  Is the family of Amun being recreated by the occult? This may sound far-fetched; but, is it any more than placing two sarcophagus at the back door of the Whitney Houston funeral?

Ancient Egyptian belief referred to a number of souls
that together constituted the individual.

I believe we are witnessing an ancient science of resurrection. All of these synchronicities are established in order to unlock  and energize something we do not understand, perhaps an ancient consciousness?   Now we know there is a mummy connected with the death of Whitney Houston. What were the odds this mummy would also be a singer and better yet a diva?

I’ll leave you with this:

“the god of this world has blinded the minds of the unbelievers, to keep them from seeing the light of the Gospel of the glory of Christ”
(2 Corinthians 4:4 RSV)

This is interesting also (Check the links he mentions in his description box):

Article Source Link: http://revelationnow.net/2012/02/21/egyptian-sarcophagus-whitney-houston-funeral/

JP

By | February 6th, 2012

When I learned that Madonna – aka the Grand Priestess of the music industry – would be performing at the Superbowl halftime show, I thought: “This should be interesting”. And it was. While most were amazed by a woman in her fifties dancing around with LMFAO and others were annoyed at her lip-syncing, I was interested with something else: the flurry of symbolism flashed to billions of viewers worldwide. While most considered Madonna’s performance as an entertaining interlude to the most important football game of the year, those blessed with symbol-literacy will probably agree with the following statement: Madonna’s halftime show was a big celebration of the Illuminati industry and of its Grand Priestess, Madonna.

A week before the Superbowl, Madonna described on Anderson Cooper the spiritual importance she attributed to her halftime show:

“The Superbowl is kind of like the Holy of Holies in America. I’ll come at halfway of the “church experience” and I’m gonna have to deliver a sermon. It’ll have to be very impactful.”

It is rather appropriate that this Kaballah-intiate referred to the Superbowl as the “Holy of Holies” as it was the name of the most sacred place in Solomon’s Temple. No one was ever permitted to enter the Holy of Holies but the High Priest. This privilege was only granted on the Day of Atonement, to offer the blood of sacrifice and incense before the mercy seat. Madonna’s analogy was therefore telling of the mindset behind her performance. Let’s look at the main parts of her show.

Vogue or Entrance of the Priestess

Madonna entrance is an elaborate procession fit for a High Priestess or even a goddess.

Pushed by hundreds of Roman soldiers and welcomed by hundreds of women, Madonna’s glorious entrance is a reflection of her status in the entertainment world.

Her first performance was highly influenced by ancient Egypt-Sumeria-Babylon and Madonna’s costume recalls an ancient Babylonian goddess.

The decor of Madonna’s first performance combines elements from ancient Egypt, Sumeria and Babylon. Madonna herself is dressed in a way that highly resembles an Ancient Sumerian/Babylonian goddess, Inanna-Ishtar.

Ishtar with her foot on a roaring lion and wearing a distinctive headdress resembling Madonna’s horned crown. Ishtar is often depicted with wings, a feature that is recalled on Madonna’s “carriage”.

Ishtar was a powerful and assertive goddess whose areas of control and influence included warfare, love, sexuality, prosperity, fertility and prostitution. She sought the same existence as men, enjoying the glory of battle and seeking sexual experiences. Madonna’s portrayal as Ishtar is therefore quite interesting as one can argue that the pop singer has embodied, throughout her career, the same assertive yet highly sexual qualities of Ishtar, even achieving a state of power in the music industry that is usually reserved to men. On an esoteric level, Ishtar is associated with the planet Venus, known as the Morning Star or the Evening Star – a name also attributed to Lucifer in occult schools.

So, in this mythologically-charged setting, Madonna performed Vogue. During the performance, covers of Vogue Magazine were displayed, a publication that is at the forefront of Illuminati symbolism in fashion (as seen in the series of articles Symbolic Pics of the Month).

Vogue ends with a symbol that is consistent with the Egyptian-Babylonian theme of the performance, one that is also of highest importance in occult Secret Societies such as Freemasons, the Rosicrucians and the Illuminati: the Winged Sun-Disk.

The song ends with the displaying of a Winged Sun-Disk.

Egyptian mystics used the winged sun for ritualistic magic and invocations:

“‘Emblematic of the element of air, this consists of a circle or solar-type disk enclosed by a pair of wings. In ritual magic it is suspended over the alter in an easterly direction and used when invoking the protection and co-operation of the sylphs.”
Hope, Murry, “Practical Egyptian Magic”

The winged sun is still being used today by groups like the Freemasons, the Theosophists and the Rosicrucians.

“The Winged Globe is pre-eminently a Rosicrucian symbol, although the Illuminati may lay claim to it, and it may be admitted that it is of Egyptian origin. The Winged Globe is the symbol of the perfected soul making its flight back to the source of its creation in the Elysian fields beyond.”
-Swinburne, Clymer, “The Rosicrucians, Their Teachings”

The symbol of the winged-sun inside a Masonic lodge.

The display of this symbol, although apparently trivial and aesthetic, emphasizes on the occult spiritual dimension underlying Madonna’s entire performance.

Give Me All Your Luvin’ or Madonna’s Sex Kittens

Later in the show, Madonna performed her new single Give Me All Your Luvin’. The song features two new industry favorites: Nikki Minaj and M.I.A. In the song’s music video and during the Superbowl performance, these two female rappers are portrayed in a specific way:  Instead of being presented as full-fledged artists contributing to Madonna’s song, they are portrayed as her “minions” who are cheering for the industry’s High Priestess. This “relationship” where Madonna is in power – and therefore the handler – is drenched in Mind Control symbolism, specifically Beta Programming, also know Sex Kitten Programming.

In the video for Give me Your Luvin’, Madonna, Nikki Minaj and M.I.A. are dressed as Marilyn Monroe, the ultimate prototype of Sex Kitten Programming.

Another symbol associated with Sex Kitten programming is feline prints clothing and textiles. The entire half-time show was an animal-print extravaganza.

Like a Prayer or the Final Sermon

Madonna closed the halftime show with one of her biggest hits: Like a Prayer. The video of this song was always controversial due to its mixing of religious themes with sexuality. As the song starts, the show takes on a very solemn and spiritual vibe as Madonna and Cee-Lo Green enter the stage to give the final sermon. Religious figures are usually dressed in white to represent purity and godliness. The two singers where dressed in black robes and black robes are usually used in…black masses.

As the song begins, a huge eye pupil is displayed before the stage, hinting to the Illuminati-influence of this spiritual performance.

Madonna’s halftime show ends in a dramatic yet very significant matter:

At the end of her performance, the floor opens underneath Madonna’s feet and she falls into oblivion.

As Madonna is swept in what appears to be the “Underworld”, Madonna sings “I hear you call my name, And it feels like home”. This is another inversion of conventional religious symbolism as “home” should be in the heavens. In Madonna’s case, she obviously didn’t go in that direction.

The show ends with a message no one can disagree with.

The words “World Peace” appear on the stage, a PR-friendly slogan used by those pushing for a New World Order lead by a one world government.

In Conclusion

When taken individually, the symbols described above can be simply considered as “cool-looking” and most Superbowl viewers did not give them much attention. The packing all of these signs and symbols in one comprehensive 13 minute performance cannot however be dismissed as “random images”. Quite to the contrary, the combination of all of these symbols form a whole and define with great depth the underlying philosophy and Agenda of those in power – the Illuminati. Madonna’s embrace of the Illuminati symbolism discussed on this site coincides with her signing with Interscope Records, one of the main purveyors of Illuminati symbolism in the music industry. Her halftime show performance can therefore be considered as the “launching” of her three-album (and 40 million dollars) relationship with the prominent label. Madonna’s Superbowl performance has shown that, despite the fact that she is an industry icon and that she pioneered most of the themes modern pop stars still exploit, she still needs to fit the mold and to embrace the same symbolism rookie pop stars.

Laced with profound imagery, Madonna’s halftime performance was a massive Illuminati ritual, one that was witnessed by billions of viewers. On this Superbowl “Day of Atonement”, Madonna, the High Priestess of the Illuminati industry, entered the Holy of Holies of America and delivered a 13 minutes sermon that was heard by all…but understood by few.

Here is Mark Dice’s commentary on the performance:

Part 1

Part 2

Article Source Link: http://vigilantcitizen.com/musicbusiness/madonnas-superbowl-halftime-show-a-celebration-of-the-grand-priestess-of-the-music-industry/

“Keep your nose to the ground and your eyes to the sky.”

By | December 18th, 2011 | Category: Music Business | 134 comments

The music video “Marry the Night” tells the story of Lady Gaga’s rise to fame in the entertainment industry. Oddly enough, her “journey” begins with her describing the symptoms of a trauma-based mind control victim.  Is there a deeper meaning to this video? We’ll look at the symbolism of “Marry the Night” and its underlying occult meaning.

Lady Gaga generated a great buzz among her fans when she announced that the video to Marry the Night would reveal a part of her past. Did her fans expect the video to begin with a traumatized Gaga inside a psychiatric ward with a bunch of lobotomized girls? Probably not. But from that strange starting point, the video proceeds to depict Gaga’s rise to super-stardom. How does all of that tie in together? To most, this doesn’t really make any sense. However, to those who understand the relation between trauma-based mind control and the entertainment industry, it makes perfect sense. While many of her previous videos referred to mind control in subtle and symbolic ways (see previous articles on Vigilant Citizen), Marry the Night takes it a step further, pretty much spelling it out. At the very start of the video, Gaga’s monologue defines in unequivocal terms the plight of a mind control victim. Despite her hardships, she says, she is determined to make it in the music business and is ready to do whatever it takes to reach her goal. She therefore “marries the night”, an expression that has a profound meaning.

The video is Lady Gaga’s directorial debut and, according MTV.com it is basically a “big thank you” to Interscope Records – the record label that signed her. This is definitely true but the video also says thanks to those behind her record label: the “Night” that she married. Let’s look at the video’s most important scenes.

In the Psychiatric Ward

The intro of the video shows Gaga as the patient of some kind of psychiatric ward. While laying on a stretcher that is pushed by two nurses, Gaga describes the way she perceives reality. Affected by a violent trauma, Gaga escapes into her own world to be able to go on. The mental dissociation that is described by Gaga is in direct accordance with the purpose of trauma-based mind control, the basis of Monarch Programming (see the article Origins and Techniques of Monarch Mind Control for more information). Monarch programming uses various methods, including violence, drugs and abuse to induce violent trauma and cause the victim to dissociate – a natural defense mechanism of the brain. The fracture of the personality that results from the process is then exploited by the mind-control handlers to program within the subject’s mind new “alter” personalities. This is also described in Marry the Night, as Gaga creates a new persona to obtain superstardom.

The process also causes the victims to have huge memory gaps when recollecting the past. In during the intro of the video, Gaga describes how a victim of Monarch programming would perceive reality:

“When I look back on my life, it’s not that I don’t want to see things exactly as they happen, it’s just that I prefer to remember them in an artistic way. And truthfully, the lie of it all is much more honest, because I invented it. Clinical psychology arguably tells us that trauma is the ultimate killer. Memories are not recycled like atoms and particles in quantum physics. They can be lost forever. It sort of like my past is an unfinished painting and, as the artist of that painting, I must fill in all the ugly holes and make it beautiful again. Its not that I’ve been dishonest, it’s just that I loathe reality.”

Gaga basically says that she went through trauma that was so horrific that it caused her to dissociate from reality. Since she cannot cope with the true nature of her existence, her psyche has “filled in all the ugly holes” and created an inner-world where she can escape and survive mentally. This is exactly what happens with MK slaves, who, while dissociated into their fantasy world, get programmed by their handlers. Gaga then proceeds to describe how her dissociated mind perceives her surroundings.

The nurses wear their caps in a “stylish” way because we are seeing Gaga’s dissociated perception of reality

In Gaga’s reality, the nurses are wearing “next season Calvin Klein” and she is wearing Giuseppe Zanotti shoes. Also, the nurses’ caps are tilted to the side like Parisian berets because she thinks “it’s romantic”. So what we are seeing is not reality, but Gaga’s perception of reality that has been distorted by trauma. Since she loves fashion, the fashion world is integrated in her mental escape to make reality bearable. The premise of this scene is very similar to the movie Sucker Punch (analyzed in the article entitled “Sucker Punch” or How to Make Monarch Mind Control Sexy), where a young patient of a psychiatric hospital dissociates from reality before getting a lobotomy.

Lobotomies also appear to be happening in Gaga’s ward. As she arrives in her room, we notice that it is filled with brain-dead girls with bandages around their heads. This hints that Gaga’s “institution” deals with mind control-related stuff.

On her bed, Gaga speaks with a nurse – who also happened to have delivered her when she was born. This is rather odd (for many reasons) but confirms that Gaga’s existence has been under tight control since her youth. Is this bit part “autobiographical” or fiction? Hard to say. But the following sequence is most probably fiction:

Gaga show her spineless back. What kind of crazy operation did she undergo?

Apparently, her spine was surgically removed. What does it represent? Her condition is most probably metaphorical as no one would actually survive (let alone be able to dance like hell) without a spine. “They” obviously took something extremely important from her. A “spineless” person is usually described as someone that is ” weak in willpower, courage or vitality” – which describes the plight of someone who just went through intense trauma. She nevertheless tells the nurse that “she’ll make it” and that “she’ll be a star” because she has “nothing left to lose”. In other words, the trauma she suffered left her lost and empty but that hole can be filled by her two obsessions: fame and success.

The Metamorphosis

After the depressing hospital scene, Gaga is in her apartment when she gets a phone call from her manager announcing that she’s been dropped by her label. She replies “But I’m an artist!”, as if artistic integrity is the top priority of record labels. She then loses it and goes into a topless frenzy involving Cheerios and smudged makeup. The messy scene is juxtaposed with images of Gaga gracefully dancing ballet – as a “true artist”. The two scenes are diametrically opposed yet have noticeable similarities. The ballet scene ends with Gaga topless and crying, indicating that both scenes happen at the same time: One in real life and one in her head.

Gaga topless and crying, like in the apartment scene. This represents how Gaga perceives herself, yet she is rejected by her label.

In the next scene, Gaga is in the the tub, accomplishing a significant task: Dying her hair blonde. Her new alter-persona is being created, the one that will become a pop star.

The transformation from Stefani Germanotta to the alter Lady Gaga symbolized by the dying of her hair blonde. She is beginning to do what is needed to make it in the entertainment industry – A shallow alter-ego that will do what is required by record labels. While she’s doing this, she’s humming “Marry the Night”, something she is actually beginning to accomplish here.

Once the transformation is complete, Gaga says goodbye to her ballet company (were they the ones that were lobotomized earlier?). The “true artist” is gone and the superficial diva is born. The camera stays on the art of the room for several seconds, probably due to its symbolic meaning. (the scene was shot at Snug Harbor Cultural Center in NY).

As the camera pans, we see several interesting things. At the top of this shot is Poseidon, the king of Atlantis with his trademark pitchfork. Although he was probably painted there because the shooting location is a harbor (a nautical place), the god takes another meaning in the context of the video: Poseidon is an important figure in the occult elite’s mythology as he is the king of Atlantis, the place where the Mysteries have originated from. Under Poseidon is a lighted star similar to the Blazing star found in Masonic lodges. Underneath the star is written “The Cross is My Anchor” – a Christian saying – but in reverse. I am pretty that the phrase is not actually written in reverse in Snug Harbor. Why was the image flipped? Does this represent Gaga’s spiritual shift as she “Marries the Night”?

The camera then pans to the room’s oculus (a circular window at the apex of  a dome) with a sun as the pupil of the “eye”. The oculus transitions into a full moon. As the scene turns from day to night, Stefani disappears and Lady Gaga emerges.

Marrying the Night

Most music sites say that Marry the Night is about going out, partying and having fun in New York city. But, as it is often the case with Gaga’s works, the symbolism and the imagery of the video hints at a deeper, more ritualistic meaning. As we have seen above, Gaga is passionately fueled by her drive for success and she appears to realize that the key to make it in the industry is: Initiation. Or, in more sinister terms, selling one’s soul.

In the context of the video, the expression “marry the night takes an almost metaphysical connotation. Marriage is a religious ritual, a binding association between two people. What does it mean when one marries the night? It can mean associating with people who deal in the dark: the occult elite (those we call the Illuminati). It can also signify embracing one’s own flaws and “dark side”. In all cases, there is a definite sense of “rebirth” in the process. And, that’s what we see: A blond Lady Gaga (the alter of Stefani Germanotta) emerges from a Trans-Am dressed in black.

Gaga then goes to “Pop Star Training”. No more ballet, it’s all about doing cool, hip, music video choreography now.

“Yeah, that’s how you need to dance if you want to be on MTV. Go back there and keep doing it”.

Once her training is complete, Gaga is ready for the “big time”. She becomes a glamorous diva and dances what is almost a parody of MTV music videos.

With her cool shades and fashionable backup dancers, Gaga now has what it takes to be a product of the music industry.

We are then treated to a video montage of Gaga living the highs and lows of stardom, complete with gigantic hats, bathroom stall door slamming action and emotionally instability. However, all of this crap pays off: Gaga gets signed to record label.

When you “Marry the Night” (or sell your soul), the doors of the music business magically open. Gaga gets an appointment with Interscope Records.

The video ends with an odd and ominous scene:

In this fiery scene Gaga is dressed in red – the color symbolic of sacrifice and initiation. She is wearing a Paco Rabane hat that is fashionable and symbolic: it completely hides her head. It is owned by the Night now.

Gaga’s live performance on X Factor also exploited the theme of headless-ness in a rather graphic way.

The setting of Gaga’s performance on X Factor emphasizes on the underlying occult meaning of the song. The full moon, the torches and the religious imagery play on the spiritual significance of “marrying the night”. Gaga began the song with her head literally chopped off, a perfect way to describe what figuratively happens to industry pawns.

In Conclusion

Although many describe Marry the Night as a “new direction” for Lady Gaga, the video still exploits her favorite theme: The price of fame. The intro of the video is basically a introductory course in trauma-based mind control, where she describes how dissociating allows her to cope with reality. As the artistic brunette turns into a blonde diva, the Lady Gaga alter-ego is created, one that will do what is required to make it in the music business. The most important requirement is “marrying the night”, which is a poetic way of saying “selling one’s soul” and associating with the dark side. Gaga had to deny everything she previously was to become a brand new person. Therefore, beneath the fashion and the dancing, the video hides an underlying ritualistic theme, as the death of a ballet dancer gives birth to an MTV pop star. From the broken girl who had nothing to lose to international superstar, it took a marriage with the dark side to turn things around. But at what cost? The final scene of the video, complete with hellish fire and a sacrificial red dress tells volumes.

In the grand scheme of things, despite her apparent originality, Gaga brings to the youth a message that is very similar to other pop stars: “Mind control is cool, everyone is doing it” and “Submit to the dark side and you’ll get what you want”. But when things get scary and the night becomes an abusive husband, asking for divorce won’t be an option. Ask Princess Diana.

VIDEO: YT’r –

http://www.youtube.com/watch?v=cggNqDAtJYU

Source Article Link: http://vigilantcitizen.com/musicbusiness/from-mind-control-to-superstardom-the-meaning-of-lady-gagas-marry-the-night/

JP

David Bowie, Muse and the Klaxons: talents so huge it’s only logical that aliens would want them for research

Why do extraterrestrials seem so keen on our rock stars? The truth is, like, way out there, man

When aliens tire of abducting, internally investigating, memory-wiping and giving a three-day hangover to the prime specimens of our species – ie meth-addled hicks driving drunk near air force bases at midnight – their second most popular group of test subjects tend to be rock musicians. Particularly those who overdid it in the 60s and have books to flog. Last month was typical, revealing ex-Van Halen singer Sammy Hagar to have been a victim of the Venusian Butt Blender since age four. Rock history, however, is dotted with extra-terrestrial encounters, inter-dimensional communications and getting, like, really freaked out by blimps.

An absolutely-sober-honest Bernard Sumner says he saw the mothership hovering over Glastonbury’s Sacred Space one year. The Troggs’ Reg Presley became so obsessed with crop circles in his post-fame years that he wrote a book about it. The autobiography of the Kinks’ Dave Davies tells of being contacted – by smell, no less – by five alien intelligences in a Virginia hotel. George Clinton and Sun Ra have purported to be aliens among us, and only partly as a metaphor for racial discrimination.

It might be reasonable to assume that all these stars were receiving scrambled messages from Space Station DRUGS. But with so much evidence orbiting rock’s stratosphere, can they all be wrong?

Sammy Hagar

Sammy Hagar
Sammy Hagar, stunned at the alien revelations in his own book. Photograph: Paul Archuleta/FilmMagic
 

Hagar’s first encounter with UFOs came, he claims, at the age of four, when a spaceship descended over a field near his family’s home in Fontana, California. “At the time I thought it was a car with no wheels … floating across a field, creating this big dust storm,” he recently told MTV Hive. “I threw rocks at it … And I don’t know what happened after that.”

Clearly these visitors found Hagar a rich source of biological interest, since in 1968, they returned in a dream, explained they were from the planet Zeeba and set about brain-mangling the poor chap. “They have used me in an experimental fashion,” he told Guitar World. “They downloaded my brain information. And I caught ’em doin’ it! I woke up in the middle of the night, thinkin’, ‘What’s goin’ on?’ They were like, ‘Oh, my god, he’s waking up!’ But this was all telepathy; there were no words being spoken. And as soon as I woke up – it was probably three o’clock in the morning – my whole room was so bright that I could hardly keep my eyes open. I was wide-awake, I could not move – they were still disconnecting – and when they did, it just went bang! Everything went back to normal, back to black.”

Hagar claims he’s since been visited by the same group of ETs, whom he calls The Nines “because they’re from the ninth dimension”. A few dimensions too many for Hagar? Perhaps, but when he was examined by John Malley, a renowned expert on extraterrestrials, Malley claimed: “Sammy has the mark of the alien on his left arm.” So the Daily Sport-style Weekly World News website reported, anyway.

David Bowie

His Spiders were undoubtedly from Mars, but were the rest of his friends as well? According to Paul Trynka’s new Bowie biography Starman, Dave’s on-off squeeze around 1968 was one Lesley Duncan – a songwriter who sang backing vocals on Pink Floyd’s Dark Side Of The Moon – who would invite him to weekly UFO-spotting meditation evenings at her Hampstead flat. “We hoped the flying saucers would come and take us away,” says Jeff Dexter, a fellow cosmic traveller present at those sessions. “We did see UFOs – absolutely.”

Creem writer Bruno Stein overheard Bowie himself telling a UFOlogist in 1975: “I made sightings six, seven times a night for about a year when I was in the observatory. We had regular cruises that came over. We knew that the 6.15 was coming in and would meet up with another one. And they would be stationary for about half an hour, and then after verifying what they’d been doing that day, they’d shoot off.”

Mind you, in practically the same breath around that time, Bowie could be heard extolling Adolf Hitler as “a perfect figurehead” for the “real” leaders of Nazism, and “a marvellous morale booster” whose “overall objective was very good”. Which may undermine his position as a credible witness a little.

Klaxons

Klaxons
Klaxons: surfing the credibility void. Illustration: gluekit.com
 

On a flight back to the UK from Australia during the writing period for their second album Surfing The Void, James Righton and Simon Taylor-Davies swear they were involved in a near-miss with an alien craft.

“We were going over the channel from Scandinavia,” says James with a geographical specificity that only adds credibility to the tale, “I looked out and there was this fucking light and it flew really, really close.”

“I remember seeing it dart very fast that way, then dart that way, then dart directly under the plane,” adds Simon. “No plane could do those manoeuvres. We were so fucking scared. The whole of the flight we were shaking with the blind down, sweating, thinking, ‘Let’s land as soon as we can and speak to the pilot.'”

James picks up the story again: “They denied there was anything close to [us]. He said there was no chance anything could have come that close to the plane without them knowing.”

The experience inspired the song Flashover, which the band hoped would become “the theme song to the arrival of the aliens!”

“I read somewhere that around about now the government were going to turn around and admit there had been alien contact,” says Jamie Reynolds. “I wanted it to coincide with that event.”

A compelling tale, then, and corroborated by each band member. Sadly, its credibility is undermined by the fact that the band were at the time knocking back so many narcotics they thought their album was being produced by an apple called Mr Tabernacle.

Lemmy

“Four of us saw [a UFO], in Yorkshire,” Lemmy told Bizarre magazine in 2005. “It came across the horizon like a streak and stopped dead in mid-air, hovered there for half a minute and then went off at a right angle. It reached its original speed almost instantly. We were just made up to have seen it. So yes. I believe in aliens.”

Lemmy, lest we forget, was once a member of Hawkwind.

Matt Bellamy

Muse’s frontman has long been fascinated by the more outlandish theories about the mysteries of the universe. The Exogenesis suite of songs from 2009’s The Resistance focused on the concept of human life being carried to Earth via alien “seeds” dispersed throughout space. These ideas were refined from Zecharia Sitchin’s 1976 book The Twelfth Planet which claimed that humans were ape/alien clones genetically engineered by a super-intelligent race from the planet Nibiru to mine Earth’s gold. Which makes perfect sense when you look at it. These ideas were further explored by Bellamy’s band on 2001’s Origin Of Symmetry.

It was when touring that album that Bellamy believed he had his own intergalactic experience. He began hallucinating that he was on a red desert planet, being impaled by skull-piercing alien shards as thick as spears flying through the air.

Sadly, Bellamy’s doctor told him his visions were simply the result of dehydration from too much on-the-road booze. He prescribed Bellamy some water and at that point the hallucinations stopped.

Jim Sullivan

Jim Sullivan
Jim Sullivan. Illustration: gluekit.com
 

A real beam-me-up mystery, this one. In 1969, west coast folk singer and Easy Rider extra (he had one of those moustaches) Jim Sullivan quietly released his debut album, entitled UFO. Now a much sought-after rarity (recently reissued by Light In The Attic), the album barely tweaked the record industry’s radar on release and – one album later, with his marriage broken – Sullivan left Los Angeles to start a new life as a session player in Nashville.

The only thing was, he never made it. Sullivan’s VW bug was found abandoned in the road outside Santa Rosa, New Mexico, all the doors open with none of his possessions removed. Search parties found nothing. No buzzards gathered to indicate a body. Locals told of a bearded hippy spotted living off the land near a local ranch, but there was never a confirmed sighting.

Others came up with stranger theories, suggesting he was kidnapped by a local mafia family. Or even that he was abducted by aliens, angered by the contents of his long player. It seems unlikely we’ll ever know the truth.

 
I just find it massively interesting that the main stream meda are pushing full steam ahead with this ‘alien agenda’.  The question is why?
 
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JP