t may be that the industry is being run, not by entertainers, but by the Illuminati and their elite Zionist globalist banker friends, who have only mind control in mind.
The rap industry lost its flavor many decades ago and became an artificial tool in the hands of the elite.
They use hip hop for cultural engineering and have turned the music industry into a propaganda tool to serve themselves and their banker friends.
A tall Israeli runs the rap industry,
“Old white men is runnin this rap shit,
Corporate force is runnin this rap shit,
a tall Israeli is runnin this rap shit,
Quasi-homosexuals is runnin this rap shit”
– Lyrics to the song “The Rape Over” by Mos Def, a reference to record label mogul Lyor Cohen.
When we look around at people, and they don’t resemble unique individuals, but manifestations of cultural templates, we must wonder who are setting the social trends in motion.
Who pays celebrities and musicians to influence the people around us to act and feel the way they do?
We live in a society drowning in social engineering: drowning in behaviors and beliefs that did not rise organically from the people, but from a wealthier class of people who propagate ideas through music, television, and other forms of media.
However, it’s incredibly difficult to identify who exactly sets social trends in motion, and who pays icons such as pop artists or actors to influence others. When you investigate what wealthy behemoths may actually be paying celebrities to degrade the culture of the masses, it’s not easy to find the suspects.
We can identify the inorganic dynamic of celebrity behavior, and say “they are trying to program us,” because we can recognize how it seems like someone is trying to make us stupid: but who? Who pays people of influence to propagate the docile, consumeristic culture we struggle with? The answer to that question may be difficult to find, but it’s not impossible.
It should be deeply fulfilling to recognize exactly who is trying to program us. What could matter more than identifying exactly who is creating our culture, how, and why? These people are affecting the lives of us and everyone around us.
So in an effort to identify what wealthy interests are actually paying iconic people to influence our culture, in this article we’re going to examine one suspect: Lyor Cohen.
A video by Vigilant Citizen exposing Lyor Cohen blew up on YouTube:
The video said:
“Lyor Cohen has been active in the music industry since 1984. He has been a pioneer in the development of hip hop music and influential in the development of hip hop music acts, including Beastie Boys, Foxy Brown, LL Cool J, Jam Master Jay, Run D.M.C. and others.”
Notice that Lyor Cohen doesn’t call what he does a “job” and takes some type of offense to N.O.R.E. calling him a mogul because he would like to keep the spotlight off of himself. Lyor prefers to be called a “servant” but what agenda and purpose does he serve?”
Lyor Cohen was born in New York City to Israeli immigrants in 1959, but grew up in Los Angeles. According to Wikipedia:
“Late in 1984, after promoting a pair of rock and rap shows at The Mix Club in Hollywood (one featured Run-DMC, the other featured Whodini), Cohen moved to New York to take a job at Simmons’s Rush Productions (later called Rush Artist Management). Beginning as Run-DMC’s road manager, Cohen quickly began taking on additional responsibilities, working on behalf of an artist roster that included Kurtis Blow, Whodini, Run-DMC, LL Cool J, the Beastie Boys, and Public Enemy. By 1987, Cohen himself was signing artists to Rush. These acts included Slick Rick, DJ Jazzy Jeff & the Fresh Prince (the latter better known today as Will Smith), Eric B. & Rakim, EPMD, Stetsasonic, De La Soul, and A Tribe Called Quest.“
He ended up promoting rappers such as Jay Z And Kanye West, and today brought rappers such as the Migos and Young Thug to prominence.
He eventually became the chairman and chief executive of Warner Music Group, and then founded his label 300 Entertainment with money from Google. Today, he’s actually working with Google.
Having been at the center of hip hop from the beginning, and unequivocally involved with the music industry, he is a prime suspect when it comes to engineering culture.
The first sentence of a mainstream music article from Complex about Lyor Cohen says “If there were a shadowy Illuminati controlling the world of rap, Lyor Cohen would be its all-seeing eye, the man behind the scenes, pulling the strings of the most powerful players and reaping the benefits.”
People call it a name it probably isn’t called, “the Illuminati,” but they are referring to a real thing. A cult exists in Hollywood and the music industry, or a collective of cults, and they are involved with propagating bad ideas to the masses and altering our culture toward being consumeristic and docile.
People in cults have a habit of using symbolism.
Look closely at the hand sign Lyor is making with the Migos in this photo. This is a sign repeatedly seen in the music industry and in circles of power. Through anecdotal observation we can suspect there is some body of people who throw up this symbol.
Out of hundreds of possible examples, here is another individual involved with perpetuating division between people, throwing up the hand sign: Milo Yiannopoulos.
Have you seen rappers such as Young Thug, the Migos or Fetty Wap and wondered if there isn’t some social engineering agenda afoot?
This is Young Thug.
Instilling superficiality, a culture that worships money, and even emasculation of males through these new rappers is something we have to wonder about.
Young Thug is a rapper who has been promoting a culture of money and superficiality, but more specifically a feminization of males.
This is something that has been noticed by people in the black community for years: an agenda to emasculate males. While there’s nothing wrong with any person having a sexual preference, it does something to society to emasculate males, to instill superficiality and create this kind of culture.
This is easily recognizable: when there is no organic social reason for some trend to occur, and when several public figures or rappers suddenly participate in this social trend and give it traction, you have to identify who is financially tied to those setting the social trend in motion.
It’s particularly suspect when a social trend goes against the grain of what organically sells, and happens to fulfill an agenda that deteriorates the culture of the bottom class, while enriching the wealthier classes.
So when you think about precisely how society can be engineered, and how people can become superficial, docile, emasculated or submissive through the influence of music, the money behind the music must be investigated.
Who is Lyor Cohen, and who might be paying him?
Suspiciously, Lyor refers to himself as a “servant,” but who does he serve? The answer to that question gets very complex.
When investigating the money trail of social engineers, people who influence social trends, often to the detriment of society and toward the empowerment of the powers that be, the road always seems to lead back to bankers.
In fact, bankers are often some of the highest level power players, higher than government and corporate power.
It is inherently in the interest of power to engineer society, and to steer people’s culture in a direction that benefits their system. The financial system is obviously propped up by instilling a culture in people that worships money.
So understanding the high echelon of power that bankers constitute and how power players often try to engineer society, could it be that some people funding social engineering operations are bankers?
Before positioning himself at the top of a music industry hierarchy as hip hop mogul, Lyor Cohen was pursuing a global marketing and finance degree from the University of Miami. Then he briefly worked at the Beverly Hills office of Bank Leumi.
Bank Leumi is a powerful Zionist institution that was trying to establish a Jewish state in Palestine decades before WWII. According to Wikipedia:
“Bank Leumi (Hebrew: בנק לאומי, lit. National Bank) is an Israeli bank. It was founded on February 27, 1902, in Jaffa as the Anglo Palestine Company as subsidiary of the Jewish Colonial Trust (Jüdische Kolonalbank) Limited formed before in London by members of the Zionist movement to promote the industry, construction, agriculture, and infrastructure of the land hoped to ultimately become Israel. Today, Bank Leumi is Israel’s largest bank (by total assets as of 2015), with overseas offices in Luxembourg, USA, Switzerland, the UK, Mexico, Uruguay, Romania, Jersey, and China.”
It could be that this position could be acquired by anyone with Cohen’s degree. But if he was born in Israel and he specifically chose to work at this bank, doesn’t that suggest there was some deeper moral connection to the Israeli bank, or some kind of deeper connection?
Could Lyor Cohen be serving an elite class, perhaps into banking, that seeks to engineer society?
Unfortunately, whether organically or through social engineering, the money worshiping culture has become deeply entrenched in rap music, the genre that used to be more revolutionary with rappers such as KRS-One.
Immortal Technique summarized his opinion of Def Jam, basically referring to Lyor Cohen in the song “Reverse Pimpology”:
“But there’s some, devils in disguise in hip-hop
That belong at Republican fundraisers with Kid Rock”
Here are other examples of banking being connected to social engineering.
Another banker once famously participated in social engineering via MK Ultra, with the CIA: R. Gordon Wasson, public relations vice president at Chase Bank.
Members of the Rockefeller family are known to influence both Chase Bank (the family bank as they call it), and the CIA. The Rockefellers have also long been tied to social engineering.
A brief window into Gordon Wasson’s MK Ultra role can be garnered from Gnostic Media:
“One letter in Subproject 58 mentions that Gordon Wasson was “unwitting” even though the documents show that J.P. Morgan Bank, where Wasson served as the Vice President of Propaganda, was the contractor for this operation. Subproject 58 was published by J.P. Morgan companies such as Henry Luce’s Life Magazine – directed by Henry P. Davison- Wasson’s direct boss at J.P. Morgan Bank, and also This Week Magazine, which was directed by Joseph P. Knapp of Morgan Guarantee Trust, which it is now clear that the CIA at very minimum funded these projects and launched the psychedelic movement itself. Therefore, all persons who were part of this movement were direct victims of the CIA’s MKULTRA Subproject 58.”
People have observed the Tavistock Institute’s connection to the psychiatrist Dr. Eric Cunningham Dax who saw Martin Bryant as a child, the boy who would allegedly commit the Port Arthur Massacre of 1996 in Australia, which justified disarming the Australian population.
“Martin Bryant was monitored, directed, and, in all likelihood, programmed by Tavistock networks in Tasmania, from at least the time that one of Tavistock’s senior representatives in Australia, the now 88-year-old Dr. Eric Cunningham Dax, first examined Bryant in 1983-84, and set the parameters for all his future “treatment.” Dax was for decades an associate of Tavistock’s longtime leader and World Federation of Mental Health chairman, Dr. John Rawlings Rees. Beginning with his collaboration with Rees in the late 1930s, Dax, by his own account, had specialised in “brainwashing.”“
“In 1944, Bank of England chief Montagu Norman suddenly quit his banking post in order to start a Tavistock spin-off called the National Association for Mental Health. Norman had been at the apex of the international financial oligarchy: One of his protégés, longtime Australian Reserve Bank head H.C. “Nugget” Coombs, called him the “head of a secret international freemasonry of central bankers.” As such, he had supervised the banking arrangements which put Adolf Hitler in power, as EIR History Editor Anton Chaitkin has documented. Norman tapped his Bank of England assistant, Sir Otto Niemeyer, to be the NAMH’s treasurer, and Niemeyer’s niece Mary Appleby, to be general secretary of the association. Niemeyer is well known to Australians: He headed the infamous “Niemeyer mission” to Depression-wracked Australia in 1930, to tell Australia to savagely cut its health and welfare spending, in order to pay her British creditors.
The British NAMH soon gave birth to the World Federation of Mental Health, one of the first of the innumerable, anti-nation-state “non-governmental organisations” spawned by Tavistock. Affiliated with the United Nations, the WFMH was one-worldist from the outset. To head up the new organisation, Norman tapped Brig. Gen. John Rawlings Rees, the head of Tavistock in the 1930s, and then the chief of Britain’s World War II Psychological Warfare Directorate. Rees had commanded 300, mostly Tavistock-trained Army psychiatrists; since then, Tavistock has been almost indistinguishable from the various wings of British Military Intelligence (MI-6, MI-5, SAS, etc.) — a connection perhaps of relevance to the military precision with which Bryant planned and executed his mass slaughter.
At the war’s end, in a speech to U.S. Army psychiatrists in 1945, Rees called for the creation of “psychiatric shock troops,” who would move out of the military and psychiatric institutions, in order to shape society as a whole: “If we propose to come out into the open and to attack the social and national problems of our day, then we must have shock troops and these cannot be provided by psychiatry based wholly in institutions. We must have mobile teams of psychiatrists who are free to move around and make contact with the local situation in their particular area…. In every country, groups of psychiatrists linked to each other … [must begin] to move into the political and governmental field.””
Much, much more research is needed into individuals and organizations that may pull the strings of society, and be paid to influence masses of people toward a money worshiping, or docile, or otherwise dysfunctional culture that is detrimental to our future freedom and prosperity.
Birth of Hip Hop:
I said a hip hop / Hippie to the hippie / The hip, hip a hop, and you don’t stop, a rock it out / Bubba to the bang bang boogie, boobie to the boogie…