Media Is A Form Of Mind Control

Reflections On An Ever-Changing World by Mitch Santell

perception-is-reality

Media is a “Medium” that is all geared towards only Propaganda that is organized to divide us. They divide us by basing everything on how we “feel.”

The revolution that you feel is coming is already here. Look at Hong Kong right now. Look at the level of Weather Wars as a result of the mass dumping and spraying in our skies.

This is what is coming to America over the next five years if we don’t stand up for our country now. This comes from one of my favorite truther’s Dave Hodges, whom I have followed for a long time.

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The World Has Seen This Before: The Anatomy of a Revolution

America is being taken over by a powerful minority. Make no mistake about it, this is a type of Bolshevik Revolution.  History has seen this before. One could take my following paragraphs and apply it dozens of previous revolutions. It is just that this revolution is just depicted in history books. The forces behind this revolution are targeting you and your family.

Even the left is not so stupid that they would immediately begin a deadly purge against “undesirable deplorables”. The process is almost always incremental. The following represents the typical scenario followed by most revolutions.

The World Has Seen This Before: The Anatomy of a Revolution

America is being taken over by a powerful minority. Make no mistake about it, this is a type of Bolshevik Revolution.  History has seen this before. One could take my following paragraphs and apply it dozens of previous revolutions. It is just that this revolution is just depicted in history books. The forces behind this revolution are targeting you and your family.

Even the left is not so stupid that they would immediately begin a deadly purge against “undesirable deplorables”. The process is almost always incremental. The following represents the typical scenario followed by most revolutions.

Red Flag Laws Are the First Step to Total Gun Confiscation

The unconstitutional nature of Red Flag laws used to solely be the brainchild of Democratic extremists. Now, Republicans, including Trump, Crenshaw and Graham are now fully on board with the 21st century version of the Salem Witch Trials.

In case some have been burying their collective heads in the sand, a Red Flag law states that someone can have a personal enemy who falsely tells law enforcement  that the “someone” has their gun confiscated without due process. How many are going to die? The number will be greater than the number of victims of these false flag events which are clearly designed to get the guns.

We must realize that we are witnessing a revolution against the United States and the Constitution. The elements of revolution are firmly embedded. We speak of the variables of a revolution as if they were separate events. They are not. All that is happening today is well orchestrated. The Deep State is the MSM. The MSM is the Deep State. The Deep State is the Democratic Party. The Democratic Party is the MSM which now represents a type of Bolshevik Revolution.  History has seen this before. One could take my following paragraphs and apply it dozens of previous revolutions. It is just that this revolution is not just depicted in history books. The forces behind this revolution are targeting you and your family. To repeat, “they” will say that “someone” is unhinged and dangerous. I will say again, without any due process, your local LEO’s can show up to door and take your guns and will kill you if you resist as has already been proven to be the case.

President Trump stated that he supported Red Flag laws because there might not be time to “go through the legal process”. So, now time is being used as the reason to violate the Second Amendment and the due process procedures of the Fifth Amendment.  And speaking of Trump, he has now sanctioned the FBI and the DOJ, as a whole, to search the internet for signs of websites that incite hate. “Hate”, today, is all in the eye of the beholder. In social media, one gets banned for disagreeing with the extremist Leftist agenda and the reason most often cited is “hate”.  Make no mistake about it, this is “pre-crime”.

Read more here: http://bit.ly/2KpE6F2

A Clip From The Film “Minority Report” Discussing “Pre-Crime.” (1:21)


Plug & Play Ventures Khosla Ventures Andreessen Horowitz 

Living In The American Empire, 2018

Something I found on the internet today…

(8:57 Discussion of Culture & Turning Pornography Into A Freedom Issue).

Thus, a good man, though a slave, is free; but a wicked man, though a king, is a slave. For he serves, not one man alone, but, what is worse, as many masters as he has vices. St. Augustine, City of God

City_of_God_Manuscript
St. Augustine Manuscript for City Of God

Writing at the time of the collapse of the Roman Empire, St. Augustine both revolutionized and brought to a close antiquities idea of freedom. A man was not a slave by nature or by law, as Aristotle claimed. His freedom was a function of his moral state. A man had as many masters as he had vices. This insight would provide the basis for the most sophisticated form of social control known to man.

Fourteen hundred years later, a decadent French aristocrat turned that tradition on its head when he wrote that the freest of people are they who are most friendly to murder. Like St. Augustine, the Marquis de Sade would agree that freedom was a function of morals. Unlike St. Augustine, Sade proposed a revolution in sexual morals to accompany the political revolution then taking place in France. Libido Dominandi the term is taken from Book I of Augustines City of God is the definitive history of that sexual revolution, from 1773 to the present.

Unlike the standard version of the sexual revolution, Libido Dominandi shows how sexual liberation was from its inception a form of control. Those who wished to liberate man from the moral order needed to impose social controls as soon as they succeeded because liberated libido led inevitably to anarchy. Aldous Huxley wrote in his preface to the 1946 edition of Brave New World that as political and economic freedom diminishes, sexual freedom tends compensatingly to increase. This book is about the converse of that statement. It explains how the rhetoric of sexual freedom was used to engineer a system of covert political and social control. Over the course of the two-hundred-year span covered by this book, the development of echnologies of communication, reproduction, and psychic control including psychotherapy, behaviorism, advertising, sensitivity training, pornography, and plain old blackmail allowed the Enlightenment and its heirs to turn Augustines insight on its head and create masters out of mens vices. Libido Dominandi is the story of how that happened.

E. Michael Jones, author of numerous books, is the editor and publisher of Culture Wars magazine.

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Music Artists Have Control Now

Inspiration by Mitch Santell

vu meters 2018

There has never been a better time to take back control of your career. You can be a solo artist or a group. The time is now. Not only is this the time to push your music career, but the truth is also that you can have one now because of all of the tools that you could ever need are right online.

In future postings, I’ll be sharing with you some basic strategies for forming your music company. This is an exciting time for YOU! This is YOUR TIME so go for it!

The future of music is about power for artists, no matter the medium.

The music industry is at a turning point, with artists demanding more money and power. The problem? There are so many ways to accomplish these goals, to the point where no one quite knows which form it will take.

This leaves us with questions about the future of the industry. How will we purchase, listen to, and support music made by artists? How do we give them the power they demand, while ensuring that consumers are also getting what they want?

At TNW Conference this week, our Music Summit track will highlight some emerging trends in the industry. Our lineup of speakers will share their take on the future of music, to shed some light on the confusion we’re currently facing.

Let’s dive into some promising tech mediums that might give artists the power and money they want.

Giving artists full music rights

Forbes recently showcased a new company on the block: Kobalt. As a service provider, it’s giving artists 100 percent of their music rights. As it currently stands in the industry, this is a big change. Kobalt acts as a centralized database where streams from Spotify, for example, directly give money to the artist. It eliminates the middleman that’s so common in the industry, with record labels taking a big cut.

Kobalt has already attracted some big names — most recently, it’s been working with Childish Gambino and ZAYN. It seems like the concept makes a lot of sense to artists, as immediately receiving profits for music is one of the biggest problems that the industry faces.

Companies like Kobalt could be a way forward but as it’s still relatively new, we’ll wait and see.

Blockchain, blockchain, blockchain

This leads us to another — quite similar — innovation that we’ve been talking about for years. Artists like Imogen Heap and Pitbull are advocating for the same change in the industry, but through a different medium.

By harnessing blockchain and their own cryptocurrencies, artists can take back money and power. Fans can purchase songs directly from the artists through their own version of Bitcoin, effectively cutting out the record labels from the equation.

This isn’t new information. The infrastructure of companies like Kobalt seems to do this in a different way, and doesn’t require listeners to change their consumption habits. That might be why blockchain (in the music industry) is all talk, and no action.

As some critics have already said, if blockchain was the answer it would have happened by now. There’s also a larger concern: the cost of purchasing music via blockchain would be much more expensive than a monthly subscription to Spotify Premium — so where’s the incentive for consumers?

So where do we go from here?

It seems like a real coin toss at the moment. The exact medium or method isn’t clear, but it seems to me that there’s a defined theme that we can expect in the future of the music industry. Artists are crying out for more money and power. This seems to be the case whether technology is involved or not — Taylor Swift recently won a lawsuit against a radio host who had sexually assaulted her. Change is clearly happening in the music industry, and the underlying theme is power and money.

The medium, then, seems secondary — a conduit to achieve these goals. That doesn’t make it redundant, as tech is a huge driving force in turning these ambitions into reality. Not to mention the fact that we have no idea which form it will take — if it’s blockchain, how do we deal with surging costs for consumers? If it’s a company like Kobalt, does that give artists the power they’re looking for?

Read more here: http://bit.ly/2IDEiNu

VUmeter black and yellow and red

Last year was a transformative one for both Royalty Exchange and the music business at large.

We’re not big on milestone-type posts, but allow us to share a few internal numbers for the sake of illuminating what we think are some broader, macro-industry trends we all should be following in the year ahead.

In 2017, Royalty Exchange saw quantum leaps forward in virtually every performance metric we track. We saw a nearly 100% increase in the number of auctions held (144) and an 84% increase in average auctions per month (12).

In total, we helped artists using our platform raise over $8.8 million dollars, nearly 110% more than the year prior.

That’s new money coming into the music industry being reinvested into creative community. After more than a decade of digital/hardware companies pulling money out of the music community, that’s got to be a refreshing change of pace.

But we can’t take all the credit for these results, as much as we’d like to. The fact is that these results are just as much a factor of broader industry trends just now starting to align. 

Here are the main ones we think play the biggest role…

New Industry. New Rules

The music industry has changed. Nearly every rule has been broken or reinvented. Fans consume music differently, and as a result artists get paid differently.

But if the way fans pay for music has changed, it only stands to reason that the rules dictating how songwriters make a living should change as well.

First, that means properly recognizing songwriters for their contributions to the music we all love. Songwriting credits shouldn’t be a secret. Over 70% of songwriters’ income is regulated in some fashion by a government entity. The better these regulators understand the crucial role songwriters play, the better informed their rulings will be. 

Second is the need to end any artificial restrictions on how songwriters choose to earn a living. The Music Modernization Act is a great first step to address the regulatory challenges. Equally important is to update the conventional wisdom around “acceptable” ways to finance a career. (UPDATE: The MMA has been updated based on the input of several songwriter organizations. Additionally, there’s an effort to bundle it into an omnibus bill that also includes the CLASSICS Act, AMP Act, Register of Copyrights Selection and Accountability Act, and CASE Act.) 

Twenty years ago it was considered “selling out” for artists to license their music for a TV commercial. Now it’s not only an accepted revenue-generating move, but it’s considered a smart marketing/discovery move.

The same is becoming true to the concept of selling royalties. The old adage of “never sell royalties” is a rule for a different age… when selling royalties meant giving up all your rights and all control.

Today’s deals are more flexible, allowing artists to sell only a portion of their royalty income, while retaining all their copyrights, all their control, and all the future income from what they don’t sell. This gives songwriters the options they need using a strategy that public companies have used for decades.

Catalog Demand

Music industry trade “bible” Billboard said it best: “The songwriter catalog market is booming.”

More here: http://bit.ly/2sdABrr

reel-for-front-3 TASCAM

The music industry continues to consolidate: 

Sony is paying $2.3bn to take control of EMI Music Publishing, cementing its place as the world’s largest music publishing company, with rights to songs by the likes of Queen and Pharrell Williams.

The deal adds a catalogue of 2.1m EMI songs to Sony’s 2.3m. EMI’s catalogue ranges from 20th-century classics including work by Motown artists and Carole King, to more contemporary compositions by Kanye West, Pink, Sam Smith and Drake.

The agreement is Sony’s first major deal under its new chief executive, Kenichiro Yoshida, who noted that the music business has enjoyed a “resurgence” in recent years due to growth in revenues from streaming services provided by companies such as Spotify and Apple.

Read more here: http://bit.ly/2JaqCx2

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Streaming Is A Fad That Will Pass ~ Mitch Santell / May 2018

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Hollywood Shift ~ Streaming Economy

Commentary by Mitch Santell

From 1913 until 2013 the traditional Hollywood system ruled the industry. Now, the old studio system was gone by 1960, but there were definite lines between the film studios, the film executives, the distributors and the marketing companies.

The technology is there, access to the market it more natural and there is a lot of talent you can call upon if you have VISION and FOCUS.

Everyone is now getting into the content creation business. It is getting more and more confusing as to who the leading content creators will be in the future.

It is not just that Netflix along with Amazon Prime, HBO, Lifetime and others are creating their original content, it is that these technology companies know how to use SEO, Algorithms, and the big elephant in the room; Streaming.

100 Million Prime
Amazon is creating original content and then STREAMING IT!

According to NICK BILTON:

When Netflix started creating its own content, in 2013, it shook the industry. The scariest part for entertainment executives wasn’t simply that Netflix was shooting and bankrolling TV and film projects, essentially rendering irrelevant the line between the two. (Indeed, what’s a movie without a theater? Or a show that comes available in a set of a dozen episodes?) The real threat was that Netflix was doing it all with the power of computing. Soon after House of Cards’ remarkable debut, the late David Carr presciently noted in the Times, “The spooky part . . . ? Executives at the company knew it would be a hit before anyone shouted ‘action.’ Big bets are now being informed by Big Data.”

When I first read the above paragraph it blew my mind but then Nick Bilton hit on an even more significant issue:

Hollywood executives may invoke their unique skills, but engineers are unlikely to see things quite that way. We generally assume that artificial intelligence poses a risk to lower-skilled jobs, such as trucking or driving cabs. But the reality is that the creative class will not be unharmed by software and artificial intelligence. Researchers at M.I.T.’s Computer Science and Artificial Intelligence Laboratory are looking at ways to teach computers how to corral information so as to perceive occurrences before they even happen. At present, this application anticipates events that will move markets, or monitors security cameras to help emergency responders before something tragic occurs.

The most prominent bombshell was this prediction:

Kim Libreri, who spent years in the film industry working on special effects for films such as The Matrix and Star Wars, predicts that by 2022 graphics will be so advanced that they will be “indistinguishable from reality.” In some respects, that is already on the verge of happening. If you watched Rogue One, you will have noticed that Peter Cushing appeared as one of the main actors in the film, which was shot last year in London. Cushing, who died in 1994, was (mostly) rendered in C.G.I. The same was true for Princess Leia, played by the late Carrie Fisher, who has a cameo at the end. The C.G.I.-enhanced version of herself hasn’t aged a day since 1977. “While stars used to be able to make a movie, now they can hurt it,” one Hollywood producer lamented to me. His outlook resembled Moritz’s: “The movie star, like everything else in Hollywood, is dying.”

Read more here: http://bit.ly/2J8n6zm

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#netflix #hbo #apple #google #wired #paramount #warnerbrothers #metoo