1958 - 2009

American Golem

Michael Jackson, an American singer, songwriter, and dancer, achieved global superstardom over a storied four-decade musical career. Emerging as a child star with the Jackson 5, he later earned the title King of Pop, with his 1982 album Thriller—widely regarded as a pop masterpiece—becoming the best-selling album of all time.

However, Jackson’s legacy extends beyond music, embodying a complex interplay of cultural transformation, illusion, and moral transgression.

Jackson represents a synthetic figure crafted by the entertainment industry, a symbol of both cultural ascendancy and civilisational decline, whose life and work reflect the contradictions of modern identity, morality, and Globalist ideology of The Boomer Truth Regime.

Early Life and Rise to Fame

Born on August 29, 1958, in Gary, Indiana, Michael Jackson first gained prominence as the lead singer of the Jackson 5, a family act formed with his siblings under Motown Records. His precocious talent as a child star captivated audiences, laying the foundation for a solo career that began in earnest with Off the Wall (1979). The release of Thriller in 1982 cemented his status as a cultural icon, transforming American popular music by synthesising disparate trends into a multicultural sound with near-universal appeal.

Jackson’s ability to bridge racial divides—appealing to both white and Black audiences—positioned him as a living symbol of the American melting pot.

The Illusionist and Cultural Transgressor

Jackson was more than a singer; he was a consummate illusionist, drawing inspiration from figures like P.T. Barnum, the American showman known for his freak shows.

Jackson transformed himself into a one-man freak show, cultivating an image of otherworldly strangeness. He strove to transcend race, gender, and humanity itself, bleaching his skin and undergoing plastic surgery to achieve a raceless visage and adopting androgynous qualities in his voice and physicality.

This quest to blur boundaries—between Black and White, male and female, child and adult—positioned him as a proto-Transhumanist, an icon of the inhuman and synthetic.

Jackson’s public image was meticulously crafted to convey eccentric Individualism and childlike innocence, disarming audiences and masking the visceral sexuality of his performances.

Wearing a gold thong, he engaged in overt simulated sex acts on stage, yet parents and children remained unfazed, a stark contrast to the moral outrage sparked by Elvis Presley’s dance moves decades earlier.

This ability to strain America’s moral boundaries while maintaining a facade of naivety marked Jackson as a pivotal figure in the pornification of Western society.

Globalist Ideology and Multicultural Messaging

Jackson played a pivotal role in the pornification of Western Society, a cultural transformation could never have been affected had he not so effectively deceived the masses as to his true nature.

in keeping with this mission to transgress the boundaries of race, culture and norms, Jackson served as a willing mouthpiece for the Globalist agenda using his International platform to promote a message of global racial and political unity, consciously appropriating Christian imagery in order to frame himself as a modern Messiah of tolerance and diversity.

He attained the status of a cult figure for millions of fans across the globe, who embraced his multicultural message as eagerly as they had embraced his music.

Jackson exploiting this newfound spiritual and political power, flooded the cultural consciousness with images of multiracial harmony, while promoting a pacifistic, and a new age life philosophy based around platitudes of love kindness and peace.

Jackson's fame, his undeniable talent, his racially ambiguous appearance, and his apparent childlike simplicity, all made him the perfect vessel for delivering this message to the masses and he became the most recognizable public face of the globalist ideology.

The Neverland Ranch and Allegations of Abuse

Jackson’s private world at Neverland Ranch, a 2,700-acre estate in Southern California, was a bizarre monument to childhood and Hollywood culture. Designed to evoke Walt Disney and Peter Pan, the ranch featured a private zoo, amusement park, ferris wheel, carousel, and three railroads.

Ostensibly a haven to recapture a carefree youth Jackson never had, Neverland was also a site where he allegedly groomed and abused young boys, primarily White, luring them with its fantastical appeal. Accounts from victims, abused between the ages of seven and fourteen, describe Jackson performing sexual acts and forcing them to perform sexual acts on him.

These allegations reveal a stark dichotomy: a man who presented himself as childlike and angelic was, in reality, a cynical and ruthless predator, exploiting his image to mask his actions.

Legacy and Cultural Impact

Jackson’s rise marked the cultural ascendancy of the aberrant and freakish in the Western world.

Once excluded, freaks were now idolised, and the transgression of order they represented was celebrated.

By defying biological categories—race, gender, childhood, and adulthood—Jackson became a seminal figure in the creation of the international monoculture, paving the way for the acceptance of globalism and multiculturalism.

His manufactured spectacle subverted traditional moral and aesthetic norms, ushering in an age of the deviant and grotesque.

As a religious personage, Jackson compelled audiences to worship at the altar of the strange and foreign, sanctifying the perversion of normality. His obvious deviancy and moral corruption were embraced by a public hypnotised by his superficial talent and the multimillion-dollar spectacle of his performances. Enabled by the entertainment industry, which presented him as a god to deepen society’s sickness, Jackson became a false idol, a vector for cultural transformation. Ultimately, Jackson was a tragic embodiment of liberal deception, a living testament to the corrosive nature of modern ideas.

In attempting to transcend race and gender, he transgressed the human, becoming a monster who sacrificed himself to his own image. His life and art were a microcosm of the American entertainment world—a system of lies and illusions that hypnotises the masses with empty spectacle while hiding its true face behind manipulative images and pious platitudes.

Jackson, born from these lies, personified them, and the modern world, gazing into his raceless, sexless, synthetic face, saw its own reflection, transfixed like Narcissus.

His enduring image, immortalised in sight and sound, remains a haunting symbol of multicultural America and proof of its abomination.

MJ's Anti-Semitism Phase

Despite his public image of racial harmony, later periods of his career were marked by significant controversy, including allegations of antisemitism and financial exploitation, positioning him within a broader historical pattern involving successful Black entertainers and conflicts with Jewish individuals in the entertainment industry.

Early Allegations and Legal Disputes

A pivotal shift occurred around 1993, when Jackson became embroiled in a multi-million-dollar lawsuit initiated by Evan Chandler, a dentist and aspiring screenwriter, alleging child molestation.

Chandler's explicit objective was to thoroughly humiliate Jackson, end his record sales, and devastate his career. His legal counsel secured a letter from a psychiatrist, Dr. Mathis Abrams, who, without having met Jordan, Evan's son, asserted a reasonable suspicion of sexual abuse. Subsequently, Evan Chandler administered barbiturates to his own son to elicit a confession concerning the alleged molestation.

Despite these allegations, which Jackson vehemently denied, he chose to settle the case in 1994 for $20 million. This settlement, however, inadvertently initiated a proliferation of further lawsuits against him. It is noteworthy that Evan Chandler (born Evan Charmatz), the stepfather David Schwarz, the lawyer Barry Rothman, and the psychiatrist Mathis Abrams were all Jewish. This particular circumstance is regarded as instrumental in understanding Jackson's developing sentiments. Evan Chandler died by suicide in 2009, months after Jackson's death.

They Don't Care About Us Controversy and Militant Imagery In 1995, Jackson released the album "His Story," which included the song "They Don't Care About Us." This track featured lyrics such as, "beat me, hate me, you can never break me, will me, thrill me, you can never kill me, Jew me, Sue me, everybody do me, kick me, kike me, don't you black or white me".

These lyrics provoked substantial criticism, with many interpreting them as antisemitic. Jackson, however, refuted these interpretations, asserting that the lyrics were intended to combat racism and had been misunderstood.

The controversy prevented the music video for the song from being filmed in the United States, prompting Jackson to collaborate with director Spike Lee in Brazil. Spike Lee had himself previously addressed and denied allegations of antisemitism following his 1990 film "Mo' Better Blues," which depicted Jewish jazz club owners in New York exploiting Black musicians.

The choice of Lee for the video is considered significant, given the thematic connections to perceived exploitative relationships involving Jewish music industry figures and Black artists. Furthermore, the music video contained a dance move that was strikingly similar to a Nazi salute, adding to the controversy. Under pressure from organisations such as the Anti-Defamation League (02_ARCHIVE/04 elite theory/ADL) and other Jewish advocacy groups, Jackson eventually altered the lyrics and re-filmed the video in a prison setting.

During his "His Story World Tour," Jackson's stage attire evolved, adopting a militarised and almost neo-fascist aesthetic, incorporating elements such as bulletproof vests, riot shields, and military costumes that bore a resemblance to Nazi soldier uniforms.

Association with Rabbi Shmuley Boteach and the Nation of Islam In the late 1990s and early 2000s, Jackson was introduced to Rabbi Shmuley Boteach, an American Orthodox Jewish rabbi, author, and television host known for his political work and his role as executive director of the World Values Network, a Jewish pro-Israel non-profit organisation.

Boteach hosted Jackson for Shabbat dinners and discussions, during which Jackson made statements such as believing he could positively influence Adolf Hitler, asserting that "nobody is all evil," and describing Hitler as a "genius orator".

Jackson and Boteach co-founded the charity "Heal the Kids," purportedly established to aid children. However, some industry insiders speculated that the charity might have functioned as a mechanism to compensate Boteach for favourable publicity.

The organisation incurred substantial expenses, including costs for lectures, salaries, and promotional activities, with one former supporter stating that the promised work for children was not evident. The association between Jackson and Boteach concluded between 2002 and 2003, with Boteach indicating that Jackson became resistant to his positive influence and criticism.

Following a period of incessant accusations of paedophilia and molestation, Jackson was ultimately acquitted of all charges. Concurrently, Sony was reportedly attempting to covertly restructure and acquire Jackson's extensive and highly lucrative music catalogue, which had generated over $4 billion in royalties during his lifetime.

Post-release of his album "Invincible," Jackson publicly accused record companies and executives of conspiring against, stealing from, and cheating artists, particularly Black artists, highlighting instances where figures like James Brown and Sammy Davis Jr. had to continually tour to avoid financial ruin.

In 2003, Jackson aligned himself with the Nation of Islam and its leader, Louis Farrakhan, to renegotiate his record deal. An anonymous business associate claimed Farrakhan was influencing Jackson, a tactic also reportedly attempted with Whitney Houston.

The Nation of Islam, a Black nationalist group, has frequently criticised the treatment of Black artists by corporations, drawing accusations of antisemitism from organisations such as the 02_ARCHIVE/04 elite theory/ADL. Farrakhan has provided counsel to numerous Black leaders, including Jackson, Whitney Houston, and Prince, all of whom subsequently died under suspicious circumstances.

In a recorded phone call that surfaced in 2005, Jackson was heard stating, "they suck, they're like leeches, you end up penniless, the Jews do it on purpose".

The ADL, through its director Abram Foxman, again called for an apology, asserting that Jackson possessed an "anti-semitic streak" and consistently attributed his personal problems to Jewish people, showing an infection with "classically stereotypical ideas of JEWS as all powerful money grabbing and manipulative.

Following Jackson's death, his doctor, Conrad Murray, affirmed that Jackson was penniless, unable to afford basic necessities such as popsicles for his daughters or toilet paper, and confirmed Jackson's severe financial distress.