Sir Paul and the Serpent Cult: Rock n’ Roll Mind Control

Sir Paul and the Serpent Cult: Rock n’ Roll Mind Control

Music and musicians have been used to engineer social change.
Military espionage has intervened in western society’s cultural affairs  – see The Beats and Government Intelligence: What Were the Sixties?

In the early days, talented musicians were used, which led to some problems due to true artists’ naturally independent and rebellious spirit. Their opposition to the System and NWO agenda (especially the promotion of the psycho-chemical warfare agent, LSD, in Paul McCartney’s case) forced the Controllers to replace the talented musicians with untalented puppets that they could easily use to manipulate the masses.

“Beyond simply discovering and revealing who killed Paul and why he was impostor replaced, this research may also serve an additional purpose of examining the process of cultural control using Cult Icons and creative impetus to deceive the public into buying a hidden agenda.”
The Illuminati Serpent Cults have used music since ancient times to entrance populations often associating it with rituals and occult symbolism. Maybe Wagner’s operatic works can also be associated with this as espoused by Hitler, and in modern times the trance inducing effects first of rock music and later more openly so Rave parties.

Revealing of this process is the title of [Theodor] Adorno’s work:The Culture Industry: Enlightenment as Mass Deception

This highlights the probable use of The Beatles and the worldwide lasting propagation of their music and lyrics within such a process of Illuminati Mind Control. Whether for human dominance or to further an Alien Agenda must be sorted out for each investigator based upon their acquired body of knowledge and suppositions about the underlying intent…

The Beats [see The Beats and Government Intelligence: What Were the Sixties?] preceeded The Beatles by approximately ten years, a time differential which might have been useful to hone infiltration and hypnotic suggestion techniques through music as well as to step up to a global reach of said programs through an internationally promoted band – namely The Beatles.

What is also interesting is this articles’ association of the Anglo-American Military Strategy of conquest of Indigenous peoples using drugs or alcohol to destroy the cultural fabric of their society. The British did this in China by importing Opium during the late 18th and early 19th century, leading to the Boxer wars, and the Americans similarly destroyed Native American culture and societal strengths by dowsing their communites with Fire Water in the form of distilled alcohols which were incompatible wtih their genetic predispositions. The sixties drug culture did little less than extend such measures of military pre-emptive strikes against potential future counterinsurgency movements to the entire world population, undermining pretty much any traditional culture anchored in any society with a blanket rejection by the younger generations.

This article and the process described should help illustrate how seemingly neutral and innocuous cultural manifestations through popular music may have become one of the leading arenas of combat for a Military Counter Intelligence Program (Cointelpro) explaining the numerous unsolved DEATHS and the occasional REPLACEMENTS of various Rock Music Artists. It also cast light on the possible motivations to cover up these crimes and conceal from public view the vast program of cultural manipulation through HOLLYWOOD, NASHVILLE and the ROCK MUSIC establishments.

Paul was a creative person who wrote, as did John. Anyone who has ever written knows that much of your production winds up in notebooks, on loose papers, and in modern times in multitudes of document types or forum threads or chat boards. Production is part of writing, and from it is derived a logical pursuit as well as a creative mode which is distinctive and personal. This makes one person’s book akin to their soul, and another’s song akin to their heart. For this reason it is my premise that The Illuminati purposely let The Beatles express themselves as freely as possible to establish their own style and set forth their trademark personality which is inimitable yet is so imitated that parodies and emulators cannot be counted.
James Paul McCartney was possibly even promoted to fame in view of later instrumentalizing him and the other Beatles in view of eliciting their collaboration and complicity by way of temptation and/or threat. My take on this was that Paul refused to betray his fans and would not turn his back on humanity to further that dark agenda. This explains his Assassination and Replacement by the Imposter FAUL. The latter, a Cointelpro Agent, went on to engage the devastating promotion of the narcohypnotic drug LSD – planned as a Military Assault on all of humanity using Nazi Mind Control techniques.
Let us remember that this was a time when The Illuminati were still trying to harness TALENT to use for their own nefarious purposes. Yet during the fifties and sixties this program ran into numerous difficulties in co-opting complicities and deviating artistic purpose, leading to the deaths of countless artists of the period in choreographed suicides, provoked accidents, alleged overdoses, etc. Then there were those who were considered too usefully positioned in the public mind or too visibly murdered to be allowed to disappear and who were thus REPLACED by doubles, imitators, impostors, look-alike agents. For them stories such as traumas, recovery from accidents, plastic surgery or spiritual rebirth after a retreat were used as a cover for any notable differences people would voice concern over. These were possibly the bloodiest of the program interventions requiring cleanup operations where those closest and presenting the greatest risks of exposure were in turn dealt with and in turn replaced.
Today it appears that this unwieldy program was deemed to costly in organization and resources, as well as requiring overly difficult mind control over subjects who are most likely to resist, artists with rebellious souls and independent minds. So today’s Cointelpro waged against humanity is operated not with talented artists but rather with people of little talent, those who without the program’s assistance would never rise on their own merits to fame and fortune, making them entirely dependent upon their masters and themselves guilty of deceit by virtue of being impostors of a talented artist whereas the music and lyrics they are claimed to write are provided by ghostwriters from the industry controllers’ workshops. Paul’s death and replacement is therefore one of the reasons that today they have reverted to using singers without voices, poets without poetry, actors without charisma and musicians without brio. Living an undeserved success story and being totally dependent, they are more likely to comply. And if they don’t the are far easier to replace given that there is no talent to imitate, as the only creative inputs come from a machine which would survive their physical death. This is why it is maybe harder to detect or notice the replacement of more contemporary stars, actors, singers and pseudo-artists.
PID – Motivations for the Murder of Paul McCartney