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«return to updates A Game of Fakes by Miles “R. R.” Mathis First published May 10, 2016 As usual, this is just my opinion. I will use this paper ...»

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A Game of Fakes

by Miles “R. R.” Mathis

First published May 10, 2016

As usual, this is just my opinion.

I will use this paper to compile some smaller fakes I have run across. Although some of you may find

them very important, I consider them historically insignificant next to, say, the life of Napoleon or

Hitler. Which is why you will have to forgive me for just hitting them as I run by at speed. I really

don't have time to prove them in-depth, so I won't even pretend to, or pretend to care that I am not proving them.

The first is Game of Thrones, allegedly by George R. R. Martin. You do realize he is a fake person, right? They took the R. R. from J. R. R. Tolkien, who is being ripped off and bastardized here. They even have Gandalf's staff on-set or something, borrowed from Peter Jackson's movie, I guess. I don't know all the details, since I haven't watched even one minute of this shite, much less wasted my time reading the books [reading a few synopses and watching a few previews was enough to make me queasy]. And then George Martin was the Beatles' producer, of course, which is where they got that.

None too subtle. George R. R. Martin is sold to you as a conscientious objector during the Vietnam War, when he became a Vista volunteer instead. OK. You do realize Vista is a CIA front, right?

In short, all this new fiction is coming right out of Langley. They just churn it out and then manufacture some bio and photo to front it. It was written by some committee, and it is being shoveled down your throat for two reasons: 1) to waste your time and keep you from looking at more important or interesting things, 2) to further propagandize you. They work in all the current gambits one way or another. [This also applies to The Hunger Games, by the way, and lots of other similar stuff.] They are conditioning you to live in a humorless, joyless world where the bad people are more interesting and the good people always die violently. The only upside is you may get to wear a cool wig. They have to condition you to this entertainment because it is all they are capable of. This is who works at Intelligence: they write about themselves. My guess is they really are this one-dimensional and boring.

This is what you would get if Days of Our Lives were set in the 11th century, allowing for the 19 murders and rapes per hour. If you are watching it, turn it off. If you need to veg out, go watch reruns of Match Game on youtube. It will be a total waste of your time, but at least you will avoid a brainwashing, a disempowering, and an un-enlightening. And if you are watching Game of Thrones for the gay dwarf sex, that's just sad. Either indulge in the good stuff, which is online free by the truckloads, or go out and find a real gay dwarf and live the dream.‡ Next, this year's Oscar-winning movie was called Spotlight. I haven't seen it and don't plan to, but even at a distance I can smell the stench. Admittedly, it doesn't sound as bad as The Revenant, or last year's Birdman,** but the propaganda angle is more transparent. In short, it is about newspaper reporters (think Woodward and Bernstein) blowing open the Catholic Priest child-abuse stories in Boston in

2003. Now, I am not Christian, much less Catholic, and I had never considered the possibility these stories were faked before today; but Spotlight winning the Oscar made me consider that possibility. As I have shown you over the years, the world is now completely upside-down, so much so that if the mainstream is telling you it is day, you can bet all your money on it being night. The very fact they made this movie and that it won the Oscar for best picture is very strong indication the story it is selling is a hoax. Why would I say that? Oh, let's see, 12 Years a Slave, Argo, The King's Speech, The Hurt Locker, Crash, A Beautiful Mind, Schindler's List, Full Metal Jacket, Gandhi, Platoon, The Deerhunter, Apocalypse Now, Chariots of Fire, All the Presidents Men, etc.

Whereas before, my assumption was the priest-child-abuse stories were true—mainly because I hadn't studied them for sense—my assumption now is that they are false. And yes, that changed simply because this movie was made by Hollywood and won the Oscar. But that assumption is confirmed by looking more closely at the circumstances surrounding the film. The director is Tom McCarthy, who was also involved in Good Night and Good Luck—another obvious CIA production, whitewashing their agent Edward R. Murrow and starring one of their premier Hollywood agents George Clooney.

Tom McCarthy's dad happens to be named Eugene McCarthy. Just a coincidence, right? Researching this newest stuff, I feel like I am in an old Chevy Chase movie. Remember in Fletch, when Chase's character goes in disguise and introduces himself as Harry S. Truman, Gordon Liddy, or Igor Stravinsky? Fletch didn't think much of the intelligence of those he was talking to, and the writers at Langley feel the same way about you. They know you will miss almost all references, so they are free to joke around at your expense.

More confirmation comes from the producers, including Blye Pagon Faust. You have to be kidding me with that name. That's an obvious anagram, folks, though I'll leave it to you to play with.* Steve Golin is another producer, the co-founder of Propaganda Films. Again, none too subtle there. Golin is an anagram for lingo. Another producer is Michael Sugar, who also brought you another CIA film, The Fifth Estate. That was was about Julian Assange and Wiki-leaks, remember? Sugar is an anagram for Argus, a monster with a thousand eyes. All these producers look like sims to me. As with George R.

R. Martin, they are just names and faces fronting CIA committees.

And what happened to Michael Keaton? From Night Shift to Birdman, and now Spotlight? I guess this is what happens after you play Batman. Did you know that Keaton has been named an officer of the Order of Arts and Letters by the French Government? Did you know this Order is linked to the Order of Saint-Michel, founded in 1469? Recent officers are a list of spooks, including T. S. Eliot, Ray Bradbury, William S. Burroughs, David Bowie, Clint Eastwood, Bob Dylan, Bono, George Clooney, and so on.

Now let's move on to David Bowie. Of course his death was faked. But more importantly, so was his life. He was an agent from the beginning, selling you a manufactured, distorted worldview packaged as progressive music. The first clue is his birthdate, 1/8/47. Numerology through and through, a marker to other agents that he was one of them. That number 47 tells us he was an Intel baby, born from Vauxhall Cross in a test tube, I guess. Everything to do with Bowie was always filled with this numerology, including the 2013 museum show at the Victoria and Albert. It ended on August 11.

That's 8/11/13. That show was the most popular show ever at the Victoria and Albert, which is itself strange and depressing. VAM is billed as the museum of decorative arts and design, so what does that have to do with David Bowie? Wasn't he allegedly a musician? The museum houses the world's largest collection of post-classical sculpture, including the largest collection of Renaissance items outside Italy. No one will show up to look at that, but 1.3 million people allegedly viewed the David Bowie show.

Before we continue, I want to pause to remind you that Bowie was a big promoter of Modern “art”.

Not only did he have a large collection of expensive nullities, he was constantly promoting Modernism as something worth talking about—which of course it isn't. This is just another indication of who he was and who he was being paid by. So his show should have been at the Tate Modern, if anywhere.

Why was it at the Victoria and Albert? Same reason the Turner Prize shows are at the Tate Britain instead of the Tate Modern: they want to take over all the old museums, slowly turning them into circuses. Eventually they can store or sell all the real art and use the floor space for jello pits.

That's from Bowie's collection. Is it upside down?

Turn it over:

it looks a lot like the Flintstones' living room.

Also pertinent to that question were Bowie's statements about religion. As we would expect, he promoted both Buddhism and Atheism—as most agents are required by contract. Bowie also referenced Kabbalah, magick, and gnosticism. All three are sub-headings in that same contract.

Like the rest of the stars forced down your throat, Bowie's popularity was mostly manufactured. They admit he hadn't had a top-40 hit since 1987, but even before that he had precious few. Fame and Let's Dance were his only #1 hits. Blue Jean hit #8 in 1984, and he had two that went to #10: Golden Years and China Girl. That gives him about the same track record as Gilbert O'Sullivan. So why is Bowie so famous while Gilbert isn't? Intel promotion.

Note that only two of Bowie's hits are from the 1970s, supposedly his glam years. His album Let's Dance of 1983 was the big seller, but he was already considered a pop sell-out by the punks by then.

There is nothing glam or progressive about any of the songs on that album, and they could have just as easily been written or performed by Hall and Oates or Rick Springfield. Actually, the same could be said of Fame, which is just standard pop fare and sounds like a B-movie soundtrack. Billboard has to cheat to get Space Oddity up to number 15, because we are told it went there in 1973. But as you know, it came out in 1969. When originally released, it didn't chart at all in the US. I guess this is just indication that if you release a song often enough and spend enough money promoting it, you can force just about anything into the top 20. The only other things that charted in the top 50 in the 1970s were Young Americans, which went to #28; and Changes, which went to #41. Even Jean Genie only went to #71.

For comparison, Bowie had five solo top tens. Barry Manilow had more than twice as many, with 11.

Rod Stewart had 14. Elton John had 28. Madonna had 38.

Fans will respond, “Who cares about Billboard? No one has looked at Billboard since the 1960s”.

Maybe, but since my point was about fake popularity, there is really no other way to test it. The arbiters of musical taste tell us how important Bowie was, but my response to that is, “prove it”. Just because a lot of paid writers say it doesn't make it so. I claim that most of the cheering for Bowie has been planted since the beginning and still is, and a few people hunkering down and repeating how important he is doesn't answer that. My guess is that most real people couldn't care less about Bowie, then or now. If they talked or talk about him, it is mostly because they are cued to do so. The mainstream media plants our daily talking points, and most people don't have enough of an independent mental life to go another way.

And if you look at album sales rather than singles, it is even worse for Bowie. Except for Let's Dance, none of his albums were big sellers, and that album now looks about as important as Eurythmics' Sweet Dreams. In other words, not. Ziggy Stardust may make Rolling Stone's best-of lists and things like that, but it probably gets less real play by real people than James Taylor or Cat Stevens. It may get less play than Gordon Lightfoot or Johnny Mathis to this day. Young people who want to hear something weird don't put on Ziggy Stardust. And why else would you put it on? People who play old stuff for nostalgic reasons don't normally get nostalgic about glam rock.

I have met a lot of music collectors over the years, but never once have I met a big Bowie fan. He's too pussy for punks, and those who went for progressive music in the 1970s normally went for bands like Led Zeppelin, Yes, or Pink Floyd. I guess old transvestites may have big Bowie collections, but I never “hung” with that crowd. Bowie's greatest legacy may be having influenced Boy George, which is not really something to put on your resumé. Very early in his career, Bowie was already mainly famous for being famous, rather than for actually doing anything, sort of like William S. Burroughs, Allen Ginsberg, and that crowd. Since they were all agents, that isn't really surprising. For the last thirty years, he has done nothing but make cameos, give interviews, and get his picture taken. Such does not make one an artist, in my opinion.

Nonetheless, he is sold by the mainstream as some sort of towering figure of the late 20 th century, with a Wikipedia page longer than Isaac Newton or Leonardo da Vinci. You have to laugh.

Bowie's first hit was of course Space Oddity, which was released five days before the Apollo 11 launch in 1969. Not a coincidence. Bowie was just 22, and the odds are he had nothing to do with writing it.

More likely the CIA or NASA or MI6 wrote it, as part of the promotion. Why do I say that? Because the song came out in July, and Bowie had met Angela Barnett in April. Again, not a coincidence. She was an American, and her father was Colonel George Barnett. Note the rank of Colonel. [Among other things, he was involved in the hugely profitable Cyprus copper mines, which were later {1979} bought by Amoco. Amoco is an arm of Standard Oil, of course, which ties us to the Rockefellers.] Her mother was Helena Galas, and her grandmother was Wiktoria Gatkiewicz, which is a Jewish name.

Helena's sister was Rozalia Smolenska, also a Jewish name.

Even the mainstream admits Angela's influence on Bowie was “immediate and far-reaching”. They married in 1970 and his quick climb began. While Bowie was perfecting glam-rock, Angela was auditioning to play Wonder Woman. Soon after, she bought the rights to Marvel Comics characters Black Widow and Daredevil. She was doing her spook-work while he was doing his.

Although glam-rock would seem to be pretty fluffy, already by 1970 Bowie was selling a tonic composed of schizophrenia, paranoia, delusion, androgyny and bisexuality. That year's album The

Man Who Sold the World has a strange set of lyrics and a stranger cover:

That's Bowie, dressed as a woman. The lyrics of the title song end like this:

I gazed a gazely stare at all the millions here We must have died alone, a long long time ago Who knows? not me We never lost control You're face to face With the Man who Sold the World.

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