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Conspiracy: An Article On Michael Jackson Conspiracy Theory
by Syl Mortilla
Michael Jackson fans often get daubed with the Conspiracy Theorist brush; a fact hardly surprising, considering the infinite permutations of perspective created by the perfect storm that is the victimisation of Michael, the oracular propaganda techniques he employed during his adult career, and the advent during this time of that supreme catalyst for suspicion, paranoia and unfounded hearsay – the Internet.
Michael’s use of ambiguous imagery on the Dangerous and Blood On The Dance Floor album covers offer a wealth of nuances of interpretation. Some fans maintain these choices of artwork are a mere extension of the intentionally enigmatic promotional tactics utilised during the Bad campaign, such as the Elephant Man’s bones and Hyperbaric Chamber affairs; whilst many others insist that Michael was trying to communicate something to us about the danger he was in: that the fairground ride travelling through the Dangerous album cover represents Michael’s journey from Illuminati slave to Illuminati whistleblower, with Michael dancing on the checked floor of the Blood On The Dance Floor cover also signifying his being emancipated from the role of Illuminati pawn.
(With regards the Bad project and its employment of Dileo-peddled curios as a promotional tool, it’s interesting to note that these came about after Michael had written the song Price of Fame, in which he rues the pains of being so famous, singing, ““Just sign your name on the dotted line, you’ll be fine” / That always bothers me”. This was also around the same time he wrote Cheater, which contains the lyrics, “You know I work too hard for this kind of pay… / You’re tellin’ me that you’re coming to a compromise / You’re smiling at me while you’re stealing right before my eyes”. Michael ensured Cheater was included on 2004’s Ultimate Collection.)
According to Illuminati observers, all the signs are that Michael Jackson became associated with this insidious gang of elites just prior to making the Thriller album. Conspiracy Theorists correlate Michael’s increasing closeness to the Disney Corporation in the very early eighties to the rite of passage that, these days, is the training with The Disney Club that all aspiring Satanists must now undertake. With Miley Cyrus being the latest alumnus. Indeed, according to some Conspiracy Theorists, the song Thriller, which was originally entitled Starlight and themed on love, with lyrics including, “High in the night / This magic’s gonna keep us close together / We’ll start to fly / ‘Cause this is the beginning of your life”, was turned into the occult-revering song Thriller in order to satisfy a bargain with Satan; a deal in which Michael’s fame was eternally guaranteed, by recording and performing the seminal soundtrack to the annual celebration of evil that is Halloween, and therefore being forever and inextricably linked to it.
Elite-terrorised Conspiracy Theorists scour the Internet for evidence of ritualistic acts that are precursors to celebrity sacrifice, ones involving practice-runs, such as the model made of Amy Winehouse before she died, in which she is pictured in a pool of blood, holding a Minnie Mouse mask. They point to the Thriller video itself, in which Michael is killed, as being Michael’s version of this. (Of course, Michael is also then reanimated in the video – this theme of resurrection would become a recurrent theme in his work, occurring as it does in both Moonwalker and the Ghosts short film. But far be it from me to provide the BeLIEvers with any further ammunition). Famously, to appease the Jehovah’s Witness movement, of which Michael was an active member, he was forced to precurse the Thriller video with a disclaimer (written by its director, John Landis) stating that the short film was in no way occultist propaganda. Michael performed Thriller right up to, quite literally, his dying day – strange behaviour from a man that had supposedly cast off his Illuminati shackles. And, whereas the likes of Miley Cyrus et al, embark on world tours promoting precocious sex and violence, Michael Jackson’s act was devoted to the very opposite of that, and to counteracting the very problems that stunted childhoods create.
Awards shows appear to be most popular with Illuminati interpreters. No international award show goes by without its obligatory accompanying YouTube video pointing out the all-seeing-eye subliminally worked into a stage consisting of a suspiciously pyramidal construct. Pyramids, diamonds, and celebrities covering one eye, or using the Baphomet (devil horns) hand sign are like red flags to Conspiracy Theorists. Any celebrity referring to these things is instantly seized upon as evidence of their bit-role in the Elite’s masterplan for the endgame. It is true, however, that these apparently incongruous things are inordinately alluded to in popular culture (Frank Ocean’s Pyramids, Rihanna’s Diamonds and Beyonce’s Superbowl Illuminati gesture, to note three recent examples), although I would imagine that’s a lot more to do with playing up to Internet virality rather than the subservient honouring of an Owl-like deity. Besides, Michael Jackson himself was a prolific user of the Baphomet hand signal. And let’s not forget that the original title for the song Liberian Girl was, in fact, Pyramid Girl.
The financial wealth of the richest eighty-five people on the planet combined, is more than the poorest three-and-a-half-billion people on the planet combined. It is this financial elite of people that are often the focal points for Conspiracy Theories. Even the Queen of England – by no means on the list – warned the late Princess Diana’s butler with the words, “Be careful… No one has been as close to a member of my family as you have. There are forces at work in this country about which we have no knowledge. Do you understand?” In this world divided between those struggling to make a living and those intent on potentiating their already galactic financial situation, Michael was the shining example of the wealthy philanthropist – giving more than three-hundred-million dollars to charity – with the will currently held by the Estate requesting a (thus far unsanctioned) bequest of a further twenty percent of his assets to good causes.
The excuse given for not adhering to this particular stipulation of the will, is that the Estate’s first responsibility was taking Michael Jackson out of debt. Biggest-selling artist – posthumous or otherwise – with the biggest-selling concert film in history later, the charitable donations have still not been borne out. Although an unpaid three-quarter-of-a-billion dollar tax bill, a result of the Estate valuing Michael Jackson’s half of the ATV Catalogue at $0 (I wonder what Sony value their half to be?) has. Katherine Jackson’s request for an audit was dismissed out of hand.
The ongoing explicit humiliation and degradation of Michael Jackson continues, with the production of an album that follows up one that bore just his first name with the eradication of his name entirely. The album is being teased with a video in which the person dancing is obviously wearing a trilby: an observation that could be dismissed as nit-picking, if it weren’t for the fact that the name Michael Jackson is synonymous with a fedora. His iconic fedora. None of the three albums released posthumously by Sony and the Estate even bear an actual image of Michael Jackson – even the silhouette that adorns This Is It is posed by an impersonator – yet Michael Jackson was the most photographed person that has ever existed. (And people still have the nerve to wonder why Michael Jackson had issues with his self-image).
There are innumerable unsung black artists that wrote for the success and wealth of racist record companies, who preferred a white face to sell their records and make them money. This is the very same racism that resonates in the hypocrisy manifest in the mockery of Michael’s efforts to coalesce the world into harmony through music; a mockery that is in stark contrast to the vaunted statuses of the output of white counterparts, such as John Lennon (and, incidentally, in their vicious recriminations of Michael’s bare-faced cheek in buying the rights to The Beatles catalogue). Michael Jackson got up on stage in 2002 and called the contemporaneous head of Sony Music, Tommy Motolla, a racist. Sony Music responded to this, not by chastising their apparently washed-up artist, Michael Jackson, but by firing their CEO. It makes you wonder what Michael had over them that nudged them into that decision. I, for one, find it difficult to believe that, upon the departure of Tommy Motolla, everything suddenly became all fluffy and friendly between Michael Jackson and Sony. (Indeed, not to sound like a Conspiracy Theorist or anything: but that’s one heck of a lop-sided crown unusually illuminated between the feet on the aforementioned This Is It silhouette.)
Prince, during his protest against his record label, Warner Bros, walked around with the word ‘Slave’ written on his cheek. Imagine if Prince died tomorrow, and Warner Bros attempted to do what Sony have done to Michael Jackson? The plan wouldn’t leave the ground. His fans wouldn’t be so disrespected, and Warner Bros wouldn’t dare. In no uncertain terms, Michael was, and continues to be, treated as much of as a slave as Prince was. Moreso. But it has always been different rules for Michael: partly down to the higher echelons of success that he reached (something his father warned him about, again according to the lyrics of Price of Fame); but also as a result of the rife institutional racism inherent within the pop music industry.
The ‘contemporising ’- or, as I have taken to calling it, ‘CONTEMPTorising’ – of our hero, a cultural pioneer, has inspired all kinds of protest, with one campaign advocating the purchase of the Invincible album instead of Xscape. Personally, I’d prefer not to contribute to the Sony coffers at all, but if I had to buy an alternative, it would indeed be Invincible, due to its relevance as the work that Sony sabotaged, before becoming the kindling for Michael going public with his firefight against them.
In the absence of incontrovertible evidence, people form their own truths through interweaving interpretation and belief. However, in the example of the corruption of the Estate of Michael Jackson, and the associated concerns of their being fit-for-purpose, just such incontrovertible evidence exists – in the form of video footage proving that Michael Jackson could not simultaneously be both in New York and Los Angeles, at the very same minute, at the very same hour, on July 7, 2002.
Interpret, however you like, anything else that fact-indiscriminate Internet forums throws up. But hold onto this as incontrovertible: the conspiracy behind the falsification of Michael Jackson’s will and testament, is by no-means a theory.
Here is the video:
http://sylmortilla.com/2014/04/12/conspiracy/
** Traduzione a breve
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