I'll be sharing some
information with you for a half hour and then we'll play more music.
Our internet website can help us if those of you with questions will
please email your comments to us from the
email
link on our website. Usually we can reply within a day or
two.
Several months ago there was an article in the
newspaper where a talk show host named Chris Matthews said, "If you're
going to hold people's attention, you'd better make it fun." The
article was about how the media trains us to blur politics with
entertainment and reduce discussions to goof humor. In the article,
Congressman David Dreier was also quoted, saying, "You have to be able
to communicate, and to be effective, you have to do it in a
comedic way." But we came here today so
the affluent class and their managers can't order us to "cheerfulize"
our attitudes. Our rulers use media to train us to expect punchlines
with discussions because chasing laughs diverts us from focusing on the
situation we're all in. Comedy has a way of undermining the unfunny
action we need to take. So unless there are laughs attached to what I'm
saying, many will be ready to reject what's said. But some of us are
determined not to be diverted. So before we start I'll declare this
area comedy-free for the next half hour. We're here to deprogram the
spell that media cast over us, and we can handle it, because without
media's frame, we'll see some interesting things. So if you feel a need
for goof humor, please save it for later. If you get comedy out of
what's said, it's unintended.
CREDENTIALS
Jimi Hendrix died [in 1970] 33 years ago and a
couple years after his death, his father signed contracts to set up a
production company in Hollywood. The company was called Are
You Experienced? and for more than 20 years that company
released dozens of Hendrix albums from recordings Jimi had stockpiled
before he died. For 7 years, up until 1996, I was trained to become the
next director of the Hendrix production company. I worked as the
company's full time writer, researcher, consultant and speaker, and
while doing this I learned that the co-founder of Microsoft, a
billionaire named Paul Allen, was planning to build a museum for
Hendrix in Jimi's hometown of Seattle, the same city where Paul Allen
and Microsoft are from. This was back in 1992 when very few people you
met knew what Microsoft was. Anyway, the museum that Paul Allen was
building is now known as the Experience
Music Project, and they were first notified by me about some
world class collections of Jimi Hendrix items. In May 1992 I began a
six month effort to make possible the museum's purchase of these
Hendrix collections. My work and vision resulted in Paul Allen's
museum's obtaining thousands of Hendrix items for nearly a half million
dollars. Soon afterwards Paul Allen began seeking ownership of rights
to Jimi's music. He wanted control of Jimi's legacy, but I was the one
slated to be the next director of the Hendrix company.
So in 1993, Paul Allen made available $5 million
to Jimi's father, Al Hendrix, to launch a lawsuit against the people
and the company to whom Jimi's father had sold rights to market Hendrix
music. Backed by the Microsoft billionaire's money, Jimi's father was
now seeking to get out of his contract with the people he'd hired to
produce Hendrix records by claiming that he didn't understand the
contract when he signed it. It was a classic harassment lawsuit
instigated by an unjust moneyed brat, in this case Paul Allen. The
so-called "rich" need only manufacture a pretext to drag people they
don't like into court and force us to pay legal fees.
In 1995, this bogus lawsuit was settled out of
court. As a result of the settlement, the Hendrix production company in
Hollywood that employed me as writer and consultant was bought out and
closed. For 7 years I'd been trained to be the director of that
company. Then the lawsuit filed by Jimi's father, and financed by Paul
Allen's money, toppled my opportunity. The job of director was instead
given to Al Hendrix's adopted daughter, a Japanese-American woman named
Jane, who is no blood relative of Jimi's. She'd met Jimi just a couple
of times when she was a kid. Even though I had a great deal to do with
the success of Hendrix releases in the 1990s, my job was given to Jane
and I was left unemployed. And officials at Paul Allen's Hendrix museum
told me I won't be paid for all of the work I'd done to help build the
Hendrix collection for Paul Allen's museum.
Then Jane, the Japanese-American woman who never
did a thing for the company while I was there, and who was given my
job, began taking all of my writings
included with Jimi's CDs off the market and replacing them
with uninteresting junk. She went out of her way to make sure my name
was removed from all the Hendrix products for which I'd worked so much
to make successful.
The irony is that I was the main conceptualist for
the Hendrix company responsible for ideas that pushed new releases of
Jimi's music into the Top-10, and even the Top-5, on Billboard
charts. Hendrix fans bought those CDs for the music, but I knew how to
package and present the music in ways that drove those CDs up the
charts. We won't see that again. For the highest charting Hendrix
releases in the past 30 years, I suggested most of the songs used and
programmed their playing order. They carried my booklet stories and
many of those CDs were titled by me too. But despite these and other
successes, my career at the Hendrix company was ruined by the
"Microsoft lawsuit." And worse, the media coverage given to Jimi while
I was making the decisions has disappeared. It's as if the purpose, or
result, of Paul Allen's lawsuit money is to once again marginalize
Hendrix outside of public awareness. In recent years we've seen a
pathetic decline in interest in Hendrix releases. Never again will we
see a Jimi CD rise high in the charts, as they did when I was helping
to orchestrate their success. Subsequent releases have been so bad that
dominators have triumphed in the total removal of Hendrix light years
away from any public concern at all.
The way I was treated by the Seattle dominators
is an example of a much larger story described in my book, titled Rock Prophecy. My
experience with Paul Allen's museum, and the Hendrix family, is cited
here as an example of what I call the silencing of the seers
and the retarding of history, an interpretation of
society described in Rock Prophecy.
As a writer, I achieved the most visibility of
the Hendrix experts. My writings included with Jimi's CDs were
distributed to well over six-million people. None of the dozens of
books written about Hendrix reached such circulation. That's why I'm
"the most widely read" Hendrix scholar. Since my exile from the
company, none of the releases they've put out have scraped even the
bottom of the barrel on the charts. When I landed the job of writing
the first booklets for Hendrix CDs during the 1990s, it was like
winning the Olympics of rock journalism. The competition was intense
because the stakes were so high. No one had explained how the issues
and connections surrounding the life of Hendrix are the most explosive
controversies at the center of our culture. All of society's hot button
issues are triggered in unexpected ways, in ways concealed from us by media elites who prevent any
attempt to publish or air the real story.
I became the target of intense resentment from
jealous writers and collectors and fans because of my writings and
especially because I was to be the next director of the Hendrix
company. It was my goal to climb the ladder of the "estate" and advance
the truth about Jimi's legacy to a worldwide audience. After seven
years of amazing successes, running a non-stop obstacle course, I was
ready for the director's job I knew I could perform better than anyone.
But caught in the crossfire of the "Hendrix/Microsoft" lawsuit was me,
the only one who understood the vision and the Prophecy that Jimi was
fighting to communicate.
In the summer of 1995 I was writing the book Rock
Prophecy when a settlement was reached for the lawsuit. The
Hendrix company in Hollywood was closed, and I was unemployed. The
people I worked for, making successes for the company with my
consulting and writing, received multi million dollar settlements. I
didn't even get severance pay. Then officials at Paul Allen's Hendrix
museum said I was owed nothing for what I'd done to help build that
museum's core collection. I had worked for them expecting that I'd be
paid.
ASTEROID
Paul Allen's Hendrix museum could have helped me,
and they chose not to. I needed help to present Jimi's Prophecy, but
insights like those in this book are what dominators routinely seek to
obstruct and crush. As Rock Prophecy explains, Jimi predicted an
asteroid is aimed to impact our planet. Had he lived to present this,
as he was working to do, or had I been helped by any of the people who
instead obstructed me, we would have survived. Our world would
have been saved. Rock Prophecy is the
story of the end of life here, at the hands of Satanic trash, agents of
hate, face of Satan. In a word: dominators.
Paul Allen used his Microsoft money to fund an
unjust lawsuit against the Hendrix company. I was the writer for the
company being sued with his money, so his legal team was interested in
reading my research. That legal staff would've examined my writings on
file for copyright at the Library of Congress, or else they'd be
incompetent lawyers. To build their case, it makes sense for them to
see if my research contains information that they could use in their
lawsuit. The story of Jimi's asteroid prediction is among my writings
there. Paul Allen is a mogul who is heavily invested in media
production companies, like Dreamworks movie
studios, and his Microsoft is teamed up with NBC. He's a media mogul
who stumbled across my asteroid research during the Hendrix lawsuit
investigations. It seems obvious that this is how the asteroid story
made its way to the top of the list of world media in the late 20th
century.
There are three things to consider
regarding Paul Allen's Hendrix museum:
1) I orchestrated the
acquisition of some of the worlds best Hendrix collections for them.
Nearly a half million dollars was paid for the collections I lead them
to.
2) Paul Allen's museum refused
to pay me anything, and then Paul Allen paid for the lawsuit against
the Hendrix company I worked for, and was to be director of. As a
result of the lawsuit settlement, my job was given to a Japanese
American woman. I was unemployed and silenced, this is what I believe
the lawsuit was specifically intended to accomplish - to silence me.
3) And third, during the
lawsuit, I was writing the story of Jimi's prediction of an asteroid
impact. I sent that story to the Library of Congress for registration
and suddenly Paul Allen's media partners started churning out stories
about asteroids, highly publicized stories. During the lawsuit an
official at Mr. Allen's Hendrix museum said, "Whatever you know, we'll
find out about it and use as we see fit." It seems that's exactly how
the asteroid craze started in America. Microsoft media partners, NBC
and DreamWorks movie studios - suddenly went
hogwild on asteroid stories, the shows they produced are listed on our website.
The fate of civilization is predestined in the
orbit of our world through an obstacle course of asteroids. Hendrix
realized that, as a society, all of our actions must be guided by the
knowledge that it's only a matter of time before an asteroid intersects
the path of Earth. These impacts are natural, they inspired Jimi to
write that "People must never be afraid of paths chosen by God."
Whether or not this civilization can influence an asteroid in our path
depends on a collective effort in building a defense.
For many people who haven't researched the issue,
there's a misperception that scientists can save us from an incoming
rock, or blow it up or affect it in some way. That's incorrect, but
rather than present evidence for that here, on our website there's a page of statements from experts
who testify that we are unprepared for an asteroid. If you read that
web page you'll see that there's nothing we can do to prevent it and
they say it'll be decades before technology can intervene. In other
words, welcome to the Titanic, so to speak.
In March of 1996, less than one year after
Rock Prophecy was seen at the Library of
Congress Copyright Office, Bob Dole, the republican candidate for
president, began proposing that the United States build a system that
can shoot down missiles in the sky. Since then that effort has
continued non-stop as the Missile
Defense Agency. Our ruling class thinks it's impractical to
tell us that we need to build weapons against asteroids, people will
panic, they think, an unmanageable scene will result. Instead,
government today tells us that we need to shoot down missiles from
"rogue nations," and if “rogue nations” with intentions to send
missiles at us don’t exist, North Korea will either be bribed by our
State Dept. into acting like one, or provoked into becoming one, all so
that the project to build anti-asteroid technology will look like an
effort to shoot down nuclear missiles, it’s called “asteroid
diplomacy.” We’re conditioned to listen to this reasoning, and that’s
what’s happening, our Defense Agency is mounting a secret
and feeble attempt to build anti-asteroid technology, and
calling it an "anti missile system." My assertion is that the new
Missile Defense program was instigated by Paul Allen and his government
cronies, who were under the influence of Rock Prophecy
in the mid '90s during the Hendrix/Microsoft lawsuit. Their legal teams
read my research and the rest is history.
Before I elaborate, we should understand why Jimi
Hendrix had to find the right way to communicate his vision. During his
lifetime, asteroid disasters were considered science fiction.
Scientists dismissed all theories about the Earth being prone to mass
destruction from impacts. Well into the 20th century, this is what
people believed. Fireballs in the sky didn't become a subject for
modern science until the 1960s, when a man named Eugene Shoemaker
studied the mile-wide crater in Arizona. Scientists had thought the
crater was an extinct volcano. Only in the last 40 years have we begun
to accept the fact that the Earth is a target.
Rather than call a press conference where he'd be
misunderstood, or stumble through interviews where journalists could
filter his statements, Jimi wrote a screenplay for a film that would
communicate what had to be said. But he didn't live long enough,
Hendrix was removed before he could complete the film. It's as if
civilization had a chance to organize a defense in time to ward off
disaster, but that chance depended on whether or not we comprehend
Hendrix.
Jimi said that people "are going to feel"
the physical change of Earth, "we are the reason for causing it,"
he said. How have humans caused
an impact? Hendrix presents a picture of disaster resulting from our
inability to organize world resources in time
to stop the rock from coming at us.
IMMEDIATE PRECURSOR
Members of the media will claim today's asteroid
craze was kicked off by a comet impact on Jupiter in 1994. But the Timeline on our website
proves otherwise. Consider timing. There've been a
handful of asteroid stories published at various points between 1877
and 1994 and, as our Timeline shows, all of these stories made minor
impacts on popular culture. The actual asteroid craze
in modern media, characterized by repeated and excessive mass media
blockbusters, from The New York Times to all major
TV networks and Hollywood films - is outlined on our website Timeline. Nowhere
else is this wave of reports chronicled. No one else was keeping track
- except for me - because I was watching it all from the start as my
insights were ripped off by media elites over the course of several
years.
The media's unique wave of stories about asteroids
escalated in late
1995, about 6 months after
Rock Prophecy was seen in Washington at
the Library of Congress. My manuscript arrived there for copyright
registration at the height of the Hendrix/Microsoft lawsuit
proceedings. Prior to '95, all
reports and media stories about asteroids are scattered across the
decades in disconnected isolation from each other. By contrast, the
intense crescendo of reports triggered after
Rock Prophecy was copyrighted,
identifies this book as the immediate precursor to
the frenzy in media, a succession of reports that continued at an
uninterrupted peak for five years, and continues today. Just prior
to this media blitz, Rock Prophecy
appeared, marking Jimi's prediction as the catalyst for that craze.
There is no other directly
connected event in 1995 before the media's asteroid
fad. A description of this period is the purpose of our website Timeline. Rock
Prophecy preceded the
media's wave of reports about asteroids, the number and intensity of
these reports are unprecedented in history. Never again can
the attention of civilization be introduced to the threat of rocks in
such a concentrated way.
Everyone has now been trained and conditioned to
this issue. While most people shrug off the odds of an impact, most
scientists who've studied the subject agree that a hit is inevitable,
it's just a matter of when, and the odds are that our planet is overdue
for a major hit. This book is about Jimi's prediction of when, made at
a time when only a tiny handful of people were even thinking about
asteroids. By contrast, after Rock
Prophecy was copyrighted in 1995, the asteroid issue was
hyped up to the number one topic of discussion in the late 1990s, to
such an extent that today an explanation is needed about how this story
is the source for the media's asteroid frenzy. There is evidence.
Consider how not a single media report listed on
our Timeline mentions the occasional book about asteroids, like Lucifer's
Hammer from 1977 or The End of the Age
from 1987. The few books such as these are not
contenders against Rock Prophecy as triggers that
instigated the craze in media for asteroids in the late 1990s. And
regardless, the whole issue of who started it is
just a small fraction of my book. This is not a story about who
started it. And it's not about how I personally was treated by
Microsoft dominators who took my ideas and then overexposed the
asteroid story in media. The book is an interpretation of history,
defining a faith in unexpected ways, with unprecedented connections.
My critics will attribute the asteroid frenzy to any
story about space rocks reported before 1995. That's exactly what
dominator media has taken pains to persuade everyone of. They'll say
the craze was caused by anything other than this
book. As Elaine Pagles said, "It's the winners who write history - their
way." Rock Prophecy is not
"their way" - the book describes how these people have caused
the impact disaster we're going to see, so Rock Prophecy
is being suppressed by the media
elite, who have instead presented a false history of asteroid
awareness. But another version of history exists, and it's not a
dominator "winners" delusion. It's the truth.
Rock Prophecy is the original
trigger for an avalanche of asteroid stories in recent media. The
timing
is the key to consider. News of Jimi's prediction appeared in 1995
prior
to the media binge on space rocks. And with Paul Allen's
involvement in the Hendrix/Microsoft lawsuit, why
wouldn't
that legal team monitor my stories? I was the writer for the Hollywood
Hendrix company they were suing. These people found out what I'd
discovered and their media companies began pumping out stories about
it. For the historical record: we would have seen NO media overexposure
of asteroids had not the Hendrix connection with this issue been seen
in Washington in spring 1995. To claim otherwise is to subscribe to a
dominator version of history - a revisionist re-write false portrayal
of what happened.
Audiences in the past have regarded asteroid
stories as science fiction. Even the impact of a comet on Jupiter in
July of '94 was a passing attraction. Media dropped the story the next
day. No one seemed interested in dwelling on rocks from space. Then, 15
months later everything changed. After
Rock Prophecy
was seen, it was as if the men who control media issued a decree: "Do
up the asteroid story - Big Time!" Starting in autumn '95, and
throughout '96, a rising tide of reports about rocks in space flooded
the airwaves, these
reports
are listed on our website. The hysteria climaxed in February
of '97 when TV's were overloaded with scenes of
NBC's ASTEROID
miniseries. Then another year of overblown reports fueled the
1998 Hollywood blockbusters
Armageddon
and
Deep Impact.
Paul Allen and Microsoft money were deeply involved in these projects.
But prior to '95 the public was exposed only
slightly to stories about asteroid disasters. Mass media didn't run
with this story until autumn '95, nearly six months
after
Jimi's prediction was seen at the Library of Congress. It was
then
that media moguls began churning out endless reports about asteroids.
My manuscript was read by their consultants. The law allows anyone to
read research filed at the Library of Congress. Suddenly network
executives and media financiers ordered a
field day
on asteroid stories. They learned what my book reveals and decided to
warn the public in a way that
excludes the Hendrix
connection. In fact, they
had to
exclude the Hendrix connection because the way Jimi presents his vision
is narrow enough so that anyone else who explains it in published form
will violate my copyright. Copyright laws don't protect
ideas,
but they do protect the
expression of an idea, and
there is no other way to execute the explanation of Jimi's words than
what's in my book. So when dominators can't steal credit for an idea,
they just deny that the idea is credible, and when moguls start
producing asteroid stories, they prevent any mention of the Hendrix
connection that started this. Which is why we're here today, to
proclaim that connection.
For Valentine's Day 2001 NASA landed a spacecraft
on an asteroid for the first time. The asteroid is named Eros, the
Greek word for
Love, so NASA made a landing for
Valentine's Day. As
Rock Prophecy points out, Jimi
Hendrix had a name for the asteroid that will impact our planet, the
name he gave is
Electric Love.
So when NASA landed their spacecraft on Eros, or
Love,
Bill Gates went to the Hendrix museum in Seattle to announce that
Microsoft's Windows operating system will be titled
"XP", which stands for Experience,
which you may know is the name of Jimi Hendrix's band, the
Jimi
Hendrix Experience. So here is Bill Gates at the
Hendrix
Museum saying the new name for Windows is
XP,
meaning
Experience, just when (Feb. 14, 2001) NASA
lands a spacecraft on an asteroid for the first time, for
Valentine's
Day and the name of the asteroid is
Eros,
for
Love, which is
the name Jimi gave to
the asteroid that will hit Earth. Now, while the XP,
Experience, operating system was being developed at Microsoft, the
project had a code name. You know what that code name was? Originally
it was "Asteroid."
Can you get the connections? -
Eros, Love, Electric Love,
a name Hendrix gave to an asteroid, Bill Gates at the
Hendrix
Museum for
Valentine's Day, announcing
XP,
meaning
Experience, like
Jimi Hendrix
Experience, while at the
same time NASA
lands on an asteroid for the first time named
Eros/Love,
landing for
Valentine's Day, and Windows
XP
was originally named
Asteroid. The
meaning
of this seeming coincidence is that
Microsoft learned from me
to associate Hendrix with asteroids and then Microsoft media partners
ran with my asteroid ideas while Paul Allen's Microsoft money destroyed
my career at the Hendrix company after I'd worked long and hard to make
the best Hendrix collections available to his museum in Seattle, which
refused to pay me for my work. When Windows XP was released,
Bill Gates chose to release it on
October 25, the anniversary
of the day my rockprophecy.com website went on line. And the 1997
ASTEROID
miniseries, with Micosoft's NBC media partner mentioned
earlier,
the space rock that impacts Earth in that TV
miniseries is the Eros Asteroid.
The beauty of this for Bill Gates' partner, Paul
Allen, is that it's complex enough for many people to
not
want to try and see the cause of all this, which is
Rock
Prophecy. In the face of anything complex, your detractors
will feign ignorance. Even though they really see the meaning, they'll
say, "Wha? That's too deep for me, man, ha ha." Some will label me
"paranoid" for pointing out a "conspiracy theory," and they'll deny
that the connections are real. But this is not a conspiracy theory,
it's an
institutional analysis, we are analyzing
facts about the institutions of Microsoft and the media.
Officials from Microsoft are amused by their
treatment of me, because they know many people won't believe that they,
as wealthy moguls, would care what I say. Microsoft owns enough media
to be able to put their spin on this for people who praise them and
think it's good to be as moneyed as they are. But Paul Allen and his
media are like unjust moneyed Murderers of Earth who've killed
everything you care for. Within two weeks of Bill Gates' announcement
at the Hendrix museum, Seattle was hit by the biggest earthquake in
that state's history. Expect
more
where that came from.
Teams of publicists at think tanks are paid by
these moguls to find ways to use media to neuter any effect that the
real story around Hendrix will stir. That story is
Rock
Prophecy and it reveals how a wealthy class of anti-equality
men have arranged a situation where
today's
society is unable to raise a defense in
time to stop the Rock that Jimi saw hurtling
towards Earth. When this story was seen at the Library of Congress in
spring of '95, plans were implemented to deluge the airwaves with
asteroid reports.
Media moguls pay their agents to assess stories
sent to the Library of Congress for copyright and then they re-package
these concepts for presentation by their own companies. Moguls decide
when and how certain issues are promoted and
who gets credit
for them. Moguls determine how to
divert, redefine,
and co-opt topics that threaten the interests of the ruling
class, like
Rock Prophecy does. Just months
after
my manuscript arrived at the Library of Congress, a media blitz about
asteroids began bombarding us all. Every form of media under mogul
control was ordered to co-opt the central issue of Jimi's prediction.
There are 3 things to keep in mind:
1) by the mid 1990s
my
readership exceeded 6 million people because of
my writings about Hendrix,
2) any media consultants, the
"moles of the moguls," who saw
my
writings at the Library of Congress learned how Hendrix is
the central connection most threatening to dominators, and
3) When I was writing for the
Hendrix company, the next worldwide release of Hendrix music would've
carried Jimi's asteroid prediction.
This is what I say the
Microsoft lawsuit was really designed to stop, the delivery
of
Rock Prophecy.
I was in a position to
release this worldwide and Paul Allen's lawsuit money stopped it. Our
world will be destroyed by what Paul Allen did.
While I worked for the Hendrix company, dozens of
my writings were published by companies like
Warner Bros.
MCA, Polydor, Harper Collins, Atlantic Records, and others. I
couldn't keep up with the assignments. And there were dozens of
articles written about my work
published around the world. But then, after the lawsuit, paid for with
Paul Allen's Microsoft money, no one anywhere in the world would
publish a single word that I wrote, and no one would report anything
about
Rock Prophecy. An iron curtain descended
around my career. The men who control media approved plans to redefine
the whole issue of asteroids for the public. There was a deliberate
attempt to make us tired of hearing about asteroids, to make us
unreceptive to what
Rock Prophecy reveals. If you
need evidence of that, read our website page titled
Evolution of Suppression.
Rock Prophecy describes how our
vulnerability to collision is no "oversight." Hendrix is the messenger
who had
foresight of the disaster. He tried to warn
us, and there were others who understood the threat and knew what our
race was supposed to do. They too tried to warn us, and were silenced.
I tried to warn, and was obstructed. The fact that today we have no
defense against asteroids is not an "oversight."
RETARDED HISTORY
Jimi is a seer who glimpsed the path of a rock
that was set during his lifetime. It isn't a case of "peering into the
future" so much as it is one of sensing directions
of real objects that were already moving through our solar system.
He was noticing something's movement. Most of us
who listen to Jimi recognize that he noticed things that no one else
noticed. He was racing to communicate his vision in a screenplay titled
Moondust, but he
didn't live to finish it. The vision is now presented in Rock
Prophecy, it's the story of how dominators have silenced the
seers throughout the ages and "retarded history" by setting back
humanity's advance towards anti-asteroid technology. We are
today at a technological state that should've been reached millennia ago.
The slim window, in geologic time, that exists between major impacts is
due to close. Rock Prophecy will remain as the
explanation of what happened - how human life was evolved by Earth with
purpose, to develop capacity for flight,
explosives, and speed. These are what the planet needs to
protect itself from impacts. All planets that support life anywhere in
the universe evolve the same capability - life forms that can build
flight and explosives technology. That's what planets are concerned
with, it's the basis for natural selection. Humans
are a protective mutation selected to produce enough destructive force
to shatter rocks. We are programmed to function as the "teeth" of the
planet.
It always was a matter of time.
How long did civilization have to fathom our purpose and rise to the
occasion before it's too late? Rock
Prophecy describes "retarded
history," chronic set backs in advances toward
anti-asteroid technology. Dominators set us back, resources hoarded by
a wealthy few at everyone's expense. Every day the most advanced minds
of our species starve on garbage heaps in the third world. We will pay
for this inequality. We've already been paying…
One-hundred-thirty-two years ago, on October 8,
1871, a series of rocks from space exploded over the western Great
Lakes, one of them ignited the Chicago Fire. But there were other major
explosions that night, including a massive impact over Wisconsin that incinerated
twelve-hundred Americans in the town of Peshtigo. The reason
most people have never been informed of this is because government
officials have reported the impacts as forest fires,
or, in the case of Chicago, reported as that ridiculous myth of Mrs.
O'Leary's cow! It is critical to our ruling class that we believe the
deaths in 1871 were caused by fires and not by
impacts. The reason it's critical to them is because our
rulers have to be able to say that the odds of a future impact are very
small. But when the deaths at Peshtigo are figured
into the equation, the odds shift from unlikely to probable.
And when we add the fact that fourteen
centuries ago a massive impact triggered the Dark Ages, the
probability of an asteroid disaster in the near future goes from
probable to near certainty.
These are all
matters of interpretation
and it's only the
dominator's
spin that gets covered by mass media. So we came to say
inequality
is a state of hate from which we have a duty to
defend ourselves by any means necessary.
Media
is owned and controlled by a clique of anti-equality men
who've closed ranks to censor and suppress
Rock Prophecy
and conceal from you news of this most important story.
But when we spell the word "live" backwards we get
the letters e - v - i
- l: "evil" - the opposite of live.
Evil means: that which has led us to death - a
fitting description of the dominators we've discussed, because their
actions have led us to death. And for everyone who sees this, when we
see that rock come streaking towards us through the sky, we'll now
think of Jimi and Rock Prophecy and know who the
Murderers of Earth are who brought this upon us. And I'm here to say to
you, track them down, while there's still time, and
when you find them, administer Fair(child)ness to them,
by any means needed, because inequality didn't work. In the absence of
equality for all, we can all expect an asteroid smashed planet. Amen.
.