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mostlysignssomeportents · 3 months

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Your car spies on you and rats you out to insurance companies

I'm on tour with my new, nationally bestselling novel The Bezzle! Catch me TOMORROW (Mar 13) in SAN FRANCISCO with ROBIN SLOAN, then Toronto, NYC, Anaheim, and more!

Another characteristically brilliant Kashmir Hill story for The New York Times reveals another characteristically terrible fact about modern life: your car secretly records fine-grained telemetry about your driving and sells it to data-brokers, who sell it to insurers, who use it as a pretext to gouge you on premiums:

https://www.nytimes.com/2024/03/11/technology/carmakers-driver-tracking-insurance.html

Almost every car manufacturer does this: Hyundai, Nissan, Ford, Chrysler, etc etc:

https://www.repairerdrivennews.com/2020/09/09/ford-state-farm-ford-metromile-honda-verisk-among-insurer-oem-telematics-connections/

This is true whether you own or lease the car, and it's separate from the "black box" your insurer might have offered to you in exchange for a discount on your premiums. In other words, even if you say no to the insurer's carrot – a surveillance-based discount – they've got a stick in reserve: buying your nonconsensually harvested data on the open market.

I've always hated that saying, "If you're not paying for the product, you're the product," the reason being that it posits decent treatment as a customer reward program, like the little ramekin warm nuts first class passengers get before takeoff. Companies don't treat you well when you pay them. Companies treat you well when they fear the consequences of treating you badly.

Take Apple. The company offers Ios users a one-tap opt-out from commercial surveillance, and more than 96% of users opted out. Presumably, the other 4% were either confused or on Facebook's payroll. Apple – and its army of cultists – insist that this proves that our world's woes can be traced to cheapskate "consumers" who expected to get something for nothing by using advertising-supported products.

But here's the kicker: right after Apple blocked all its rivals from spying on its customers, it began secretly spying on those customers! Apple has a rival surveillance ad network, and even if you opt out of commercial surveillance on your Iphone, Apple still secretly spies on you and uses the data to target you for ads:

https://pluralistic.net/2022/11/14/luxury-surveillance/#liar-liar

Even if you're paying for the product, you're still the product – provided the company can get away with treating you as the product. Apple can absolutely get away with treating you as the product, because it lacks the historical constraints that prevented Apple – and other companies – from treating you as the product.

As I described in my McLuhan lecture on enshittification, tech firms can be constrained by four forces:

I. Competition

II. Regulation

III. Self-help

IV. Labor

https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel

When companies have real competitors – when a sector is composed of dozens or hundreds of roughly evenly matched firms – they have to worry that a maltreated customer might move to a rival. 40 years of antitrust neglect means that corporations were able to buy their way to dominance with predatory mergers and pricing, producing today's inbred, Habsburg capitalism. Apple and Google are a mobile duopoly, Google is a search monopoly, etc. It's not just tech! Every sector looks like this:

https://www.openmarketsinstitute.org/learn/monopoly-by-the-numbers

Eliminating competition doesn't just deprive customers of alternatives, it also empowers corporations. Liberated from "wasteful competition," companies in concentrated industries can extract massive profits. Think of how both Apple and Google have "competitively" arrived at the same 30% app tax on app sales and transactions, a rate that's more than 1,000% higher than the transaction fees extracted by the (bloated, price-gouging) credit-card sector:

https://pluralistic.net/2023/06/07/curatorial-vig/#app-tax

But cartels' power goes beyond the size of their warchest. The real source of a cartel's power is the ease with which a small number of companies can arrive at – and stick to – a common lobbying position. That's where "regulatory capture" comes in: the mobile duopoly has an easier time of capturing its regulators because two companies have an easy time agreeing on how to spend their app-tax billions:

https://pluralistic.net/2022/06/05/regulatory-capture/

Apple – and Google, and Facebook, and your car company – can violate your privacy because they aren't constrained regulation, just as Uber can violate its drivers' labor rights and Amazon can violate your consumer rights. The tech cartels have captured their regulators and convinced them that the law doesn't apply if it's being broken via an app:

https://pluralistic.net/2023/04/18/cursed-are-the-sausagemakers/#how-the-parties-get-to-yes

In other words, Apple can spy on you because it's allowed to spy on you. America's last consumer privacy law was passed in 1988, and it bans video-store clerks from leaking your VHS rental history. Congress has taken no action on consumer privacy since the Reagan years:

https://www.eff.org/tags/video-privacy-protection-act

But tech has some special enshittification-resistant characteristics. The most important of these is interoperability: the fact that computers are universal digital machines that can run any program. HP can design a printer that rejects third-party ink and charge $10,000/gallon for its own colored water, but someone else can write a program that lets you jailbreak your printer so that it accepts any ink cartridge:

https://www.eff.org/deeplinks/2020/11/ink-stained-wretches-battle-soul-digital-freedom-taking-place-inside-your-printer

Tech companies that contemplated enshittifying their products always had to watch over their shoulders for a rival that might offer a disenshittification tool and use that as a wedge between the company and its customers. If you make your website's ads 20% more obnoxious in anticipation of a 2% increase in gross margins, you have to consider the possibility that 40% of your users will google "how do I block ads?" Because the revenue from a user who blocks ads doesn't stay at 100% of the current levels – it drops to zero, forever (no user ever googles "how do I stop blocking ads?").

The majority of web users are running an ad-blocker:

https://doc.searls.com/2023/11/11/how-is-the-worlds-biggest-boycott-doing/

Web operators made them an offer ("free website in exchange for unlimited surveillance and unfettered intrusions") and they made a counteroffer ("how about 'nah'?"):

https://www.eff.org/deeplinks/2019/07/adblocking-how-about-nah

Here's the thing: reverse-engineering an app – or any other IP-encumbered technology – is a legal minefield. Just decompiling an app exposes you to felony prosecution: a five year sentence and a $500k fine for violating Section 1201 of the DMCA. But it's not just the DMCA – modern products are surrounded with high-tech tripwires that allow companies to invoke IP law to prevent competitors from augmenting, recongifuring or adapting their products. When a business says it has "IP," it means that it has arranged its legal affairs to allow it to invoke the power of the state to control its customers, critics and competitors:

https://locusmag.com/2020/09/cory-doctorow-ip/

An "app" is just a web-page skinned in enough IP to make it a crime to add an ad-blocker to it. This is what Jay Freeman calls "felony contempt of business model" and it's everywhere. When companies don't have to worry about users deploying self-help measures to disenshittify their products, they are freed from the constraint that prevents them indulging the impulse to shift value from their customers to themselves.

Apple owes its existence to interoperability – its ability to clone Microsoft Office's file formats for Pages, Numbers and Keynote, which saved the company in the early 2000s – and ever since, it has devoted its existence to making sure no one ever does to Apple what Apple did to Microsoft:

https://www.eff.org/deeplinks/2019/06/adversarial-interoperability-reviving-elegant-weapon-more-civilized-age-slay

Regulatory capture cuts both ways: it's not just about powerful corporations being free to flout the law, it's also about their ability to enlist the law to punish competitors that might constrain their plans for exploiting their workers, customers, suppliers or other stakeholders.

The final historical constraint on tech companies was their own workers. Tech has very low union-density, but that's in part because individual tech workers enjoyed so much bargaining power due to their scarcity. This is why their bosses pampered them with whimsical campuses filled with gourmet cafeterias, fancy gyms and free massages: it allowed tech companies to convince tech workers to work like government mules by flattering them that they were partners on a mission to bring the world to its digital future:

https://pluralistic.net/2023/09/10/the-proletarianization-of-tech-workers/

For tech bosses, this gambit worked well, but failed badly. On the one hand, they were able to get otherwise powerful workers to consent to being "extremely hardcore" by invoking Fobazi Ettarh's spirit of "vocational awe":

https://www.inthelibrarywiththeleadpipe.org/2018/vocational-awe/

On the other hand, when you motivate your workers by appealing to their sense of mission, the downside is that they feel a sense of mission. That means that when you demand that a tech worker enshittifies something they missed their mother's funeral to deliver, they will experience a profound sense of moral injury and refuse, and that worker's bargaining power means that they can make it stick.

Or at least, it did. In this era of mass tech layoffs, when Google can fire 12,000 workers after a $80b stock buyback that would have paid their wages for the next 27 years, tech workers are learning that the answer to "I won't do this and you can't make me" is "don't let the door hit you in the ass on the way out" (AKA "sharpen your blades boys"):

https://techcrunch.com/2022/09/29/elon-musk-texts-discovery-twitter/

With competition, regulation, self-help and labor cleared away, tech firms – and firms that have wrapped their products around the pluripotently malleable core of digital tech, including automotive makers – are no longer constrained from enshittifying their products.

And that's why your car manufacturer has chosen to spy on you and sell your private information to data-brokers and anyone else who wants it. Not because you didn't pay for the product, so you're the product. It's because they can get away with it.

Cars are enshittified. The dozens of chips that auto makers have shoveled into their car design are only incidentally related to delivering a better product. The primary use for those chips is autoenshittification – access to legal strictures ("IP") that allows them to block modifications and repairs that would interfere with the unfettered abuse of their own customers:

https://pluralistic.net/2023/07/24/rent-to-pwn/#kitt-is-a-demon

The fact that it's a felony to reverse-engineer and modify a car's software opens the floodgates to all kinds of shitty scams. Remember when Bay Staters were voting on a ballot measure to impose right-to-repair obligations on automakers in Massachusetts? The only reason they needed to have the law intervene to make right-to-repair viable is that Big Car has figured out that if it encrypts its diagnostic messages, it can felonize third-party diagnosis of a car, because decrypting the messages violates the DMCA:

https://www.eff.org/deeplinks/2013/11/drm-cars-will-drive-consumers-crazy

Big Car figured out that VIN locking – DRM for engine components and subassemblies – can felonize the production and the installation of third-party spare parts:

https://pluralistic.net/2022/05/08/about-those-kill-switched-ukrainian-tractors/

The fact that you can't legally modify your car means that automakers can go back to their pre-2008 ways, when they transformed themselves into unregulated banks that incidentally manufactured the cars they sold subprime loans for. Subprime auto loans – over $1t worth! – absolutely relies on the fact that borrowers' cars can be remotely controlled by lenders. Miss a payment and your car's stereo turns itself on and blares threatening messages at top volume, which you can't turn off. Break the lease agreement that says you won't drive your car over the county line and it will immobilize itself. Try to change any of this software and you'll commit a felony under Section 1201 of the DMCA:

https://pluralistic.net/2021/04/02/innovation-unlocks-markets/#digital-arm-breakers

Tesla, naturally, has the most advanced anti-features. Long before BMW tried to rent you your seat-heater and Mercedes tried to sell you a monthly subscription to your accelerator pedal, Teslas were demon-haunted nightmare cars. Miss a Tesla payment and the car will immobilize itself and lock you out until the repo man arrives, then it will blare its horn and back itself out of its parking spot. If you "buy" the right to fully charge your car's battery or use the features it came with, you don't own them – they're repossessed when your car changes hands, meaning you get less money on the used market because your car's next owner has to buy these features all over again:

https://pluralistic.net/2023/07/28/edison-not-tesla/#demon-haunted-world

And all this DRM allows your car maker to install spyware that you're not allowed to remove. They really tipped their hand on this when the R2R ballot measure was steaming towards an 80% victory, with wall-to-wall scare ads that revealed that your car collects so much information about you that allowing third parties to access it could lead to your murder (no, really!):

https://pluralistic.net/2020/09/03/rip-david-graeber/#rolling-surveillance-platforms

That's why your car spies on you. Because it can. Because the company that made it lacks constraint, be it market-based, legal, technological or its own workforce's ethics.

One common critique of my enshittification hypothesis is that this is "kind of sensible and normal" because "there’s something off in the consumer mindset that we’ve come to believe that the internet should provide us with amazing products, which bring us joy and happiness and we spend hours of the day on, and should ask nothing back in return":

https://freakonomics.com/podcast/how-to-have-great-conversations/

What this criticism misses is that this isn't the companies bargaining to shift some value from us to them. Enshittification happens when a company can seize all that value, without having to bargain, exploiting law and technology and market power over buyers and sellers to unilaterally alter the way the products and services we rely on work.

A company that doesn't have to fear competitors, regulators, jailbreaking or workers' refusal to enshittify its products doesn't have to bargain, it can take. It's the first lesson they teach you in the Darth Vader MBA: "I am altering the deal. Pray I don't alter it any further":

https://pluralistic.net/2023/10/26/hit-with-a-brick/#graceful-failure

Your car spying on you isn't down to your belief that your carmaker "should provide you with amazing products, which brings your joy and happiness you spend hours of the day on, and should ask nothing back in return." It's not because you didn't pay for the product, so now you're the product. It's because they can get away with it.

The consequences of this spying go much further than mere insurance premium hikes, too. Car telemetry sits at the top of the funnel that the unbelievably sleazy data broker industry uses to collect and sell our data. These are the same companies that sell the fact that you visited an abortion clinic to marketers, bounty hunters, advertisers, or vengeful family members pretending to be one of those:

https://pluralistic.net/2022/05/07/safegraph-spies-and-lies/#theres-no-i-in-uterus

Decades of pro-monopoly policy led to widespread regulatory capture. Corporate cartels use the monopoly profits they extract from us to pay for regulatory inaction, allowing them to extract more profits.

But when it comes to privacy, that period of unchecked corporate power might be coming to an end. The lack of privacy regulation is at the root of so many problems that a pro-privacy movement has an unstoppable constituency working in its favor.

At EFF, we call this "privacy first." Whether you're worried about grifters targeting vulnerable people with conspiracy theories, or teens being targeted with media that harms their mental health, or Americans being spied on by foreign governments, or cops using commercial surveillance data to round up protesters, or your car selling your data to insurance companies, passing that long-overdue privacy legislation would turn off the taps for the data powering all these harms:

https://www.eff.org/wp/privacy-first-better-way-address-online-harms

Traditional economics fails because it thinks about markets without thinking about power. Monopolies lead to more than market power: they produce regulatory capture, power over workers, and state capture, which felonizes competition through IP law. The story that our problems stem from the fact that we just don't spend enough money, or buy the wrong products, only makes sense if you willfully ignore the power that corporations exert over our lives. It's nice to think that you can shop your way out of a monopoly, because that's a lot easier than voting your way out of a monopoly, but no matter how many times you vote with your wallet, the cartels that control the market will always win:

https://pluralistic.net/2024/03/05/the-map-is-not-the-territory/#apor-locksmith

Name your price for 18 of my DRM-free ebooks and support the Electronic Frontier Foundation with the Humble Cory Doctorow Bundle.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/03/12/market-failure/#car-wars

Image: Cryteria (modified) https://commons.wikimedia.org/wiki/File:HAL9000.svg

CC BY 3.0 https://creativecommons.org/licenses/by/3.0/deed.en

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transmutationisms · 1 month

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can u elaborate on posture being a lie

As Beth Linker explains in her book “Slouch: Posture Panic in Modern America” (Princeton), a long history of anxiety about the proximity between human and bestial nature has played out in this area of social science. Linker, a historian of medicine at the University of Pennsylvania, argues that at the onset of the twentieth century the United States became gripped by what she characterizes as a poor-posture epidemic: a widespread social contagion of slumping that could, it was feared, have deleterious effects not just upon individual health but also upon the body politic. Sitting up straight would help remedy all kinds of failings, physical and moral [...] she sees the “past and present worries concerning posture as part of an enduring concern about so-called ‘diseases of civilization’ ”—grounded in a mythology of human ancestry that posits the hunter-gatherer as an ideal from which we have fallen.

[...]

In America at the turn of the twentieth century, anxieties about posture inevitably collided with anxieties not just about class but also about race. Stooping was associated with poverty and with manual, industrialized labor—the conditions of working-class immigrants from European countries who, in their physical debasement, were positioned well below the white Anglo-Saxon Protestant establishment. Linker argues that, in this environment, “posture served as a marker of social status similar to skin color.” At the same time, populations that had been colonized and enslaved were held up as posture paradigms for the élite to emulate: the American Posture League rewarded successful students with congratulatory pins that featured an image of an extremely upright Lenape man. The head-carrying customs associated with African women were also adopted as training exercises for white girls of privilege, although Linker notes that Bancroft and her peers recommended that young ladies learn to balance not baskets and basins, which signified functionality, but piles of flat, slippery books, markers of their own access to leisure and education. For Black Americans, posture was even more fraught: despite the admiration granted to the posture of African women bearing loads atop their heads, community leaders like Dr. Algernon Jackson, who helped establish the National Negro Health Movement, criticized those Black youth who “too often slump along, stoop-shouldered and walk with a careless, lazy sort of dragging gait.” If slouching among privileged white Americans could indicate an enviable carelessness, it was seen as proof of indolence when adopted by the disadvantaged.

This being America, posture panic was swiftly commercialized, with a range of products marketed to appeal to the eighty per cent of the population whose carriage had been deemed inadequate by posture surveys. The footwear industry drafted orthopedic surgeons to consult on the design of shoes that would lessen foot and back pain without the stigma of corrective footwear: one brand, Trupedic, advertised itself as “a real anatomical shoe without the freak-show look.” The indefatigable Jessie Bancroft trained her sights on children’s clothing, endorsing a company that created a “Right-Posture” jacket, whose trim cut across the upper shoulders gave its schoolboy wearer little choice but to throw his shoulders back like Jordan Baker. Bancroft’s American Posture League endorsed girdles and corsets for women; similar garments were also adopted by men, who, by the early nineteen-fifties, were purchasing abdominal “bracers” by the millions.

It was in this era that what eventually proved to be the most contentious form of posture policing reached its height, when students entering college were required to submit to mandatory posture examinations, including the taking of nude or semi-nude photographs. For decades, incoming students had been evaluated for conditions such as scoliosis by means of a medical exam, which came to incorporate photography to create a visual record. Linker writes that for many male students, particularly those who had military training, undressing for the camera was no biggie. For female students, it was often a more disquieting undertaking. Sylvia Plath, who endured it in 1950, drew upon the experience in “The Bell Jar,” whose protagonist, Esther Greenwood, discovers that undressing for her boyfriend is as uncomfortably exposing as “knowing . . . that a picture of you stark naked, both full view and side view, is going into the college gym files.” The practice of taking posture photographs was gradually abandoned by colleges, thanks in part to the rise of the women’s movement, which gave coeds a new language with which to express their discomfort. It might have been largely forgotten were it not for a 1995 article in the Times Magazine, which raised the alarming possibility that there still existed stashes of nude photographs of famous former students of the Ivy League and the Seven Sisters, such as George H. W. Bush, Bob Woodward, Meryl Streep, and Hillary Clinton. Many of the photographs in question were taken and held not by the institutions themselves but by the mid-century psychologist William Herbert Sheldon. Sheldon was best known for his later discredited theories of somatotypes, whereby he attributed personality characteristics to individuals based on whether their build was ectomorphic, endomorphic, or mesomorphic.

[...]

Today, the descendants of Jessie Bancroft are figures like Esther Gokhale, a Bay Area acupuncturist and the creator of the Gokhale Method, who teaches “primal posture” courses to tech executives and whose recommendations are consonant with other fitness trends, such as barefoot running and “paleo” eating, that romanticize an ancestral past as a remedy for the ills of the present. The compulsory mass surveillance that ended when universities ceased the practice of posture photography has been replaced by voluntary individual surveillance, with the likes of Rafi the giraffe and the Nekoze cat monitoring a user’s vulnerability to “tech neck,” a newly named complaint brought on by excessive use of the kind of devices profitably developed by those paleo-eating, barefoot-running, yoga-practicing executives. Meanwhile, Linker reports, paleoanthropologists quietly working in places other than TikTok have begun to revise the popular idea that our ancient ancestors did not get aches and pains in their backs. Analysis of fossilized spines has revealed degenerative changes suggesting that “the first upright hominids to roam the earth likely experienced back pain, or would have been predisposed to such a condition if they had lived long enough.” Slouching, far from being a disease of civilization, then, seems to be something we’ve been prone to for as long as we have stood on our own two feet.

#hps

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verysium · 6 months

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some hcs abt the bllk boys doing modeling shoots as pro-players? (like what they’d model for and the ways they captivate their audiences and stuff)? ty and love ur works btw 💞💞🫡

idk why but this ask made my brain freeze up and refuse to write anything for 3 days, so apologies if this is late anon:

sae would be so done. i mean....he walked out on a literal interview, so what makes you think he won't walk out on a photoshoot? he probably hates the very idea of plastering his face all over billboards and magazines. but his manager said that he was in desperate need of good publicity, especially after that stunt he pulled with the last commercial endorsement. if sae was forced to model though, he'd definitely be as stiff as a board. no facial expressions whatsoever and always sticks to one pose. oftentimes, this involves him facing the wall and only showing half his face. if the photographer wants a full frontal, he's going to have to deal with sae's "i don't want to be here and i'm being held hostage" face. even if sae does try smiling, it looks more like a grimace. the only redeeming quality here is that he is good-looking. if you look at the official art, he doesn't even have to try to get all of you drooling over him. that face card does not decline. like ever. so the shoots usually wrap up pretty quickly because out of the 100 images taken, at least half are going to be usable. he's photogenic from any angle.

kaiser would strike a pose for everything, even his own mugshot. i picture him as that one johnny depp advertisement for dior sauvage. blue lighting. a silk blouse with the top button open to show off a sliver of his sculpted chest. his hair is slicked back with gel, and his knuckles are decorated with silver rings. the tattoo just pulls everything together. if not a perfume commercial, then i think he'd model for adidas or some other german brand (maybe even a beer company if he's old enough). i don't think he has any trouble with the actual modeling part of process. he knows how to flaunt himself. the only issue is that kaiser is a lazy perfectionist. he would show up late to the shoots and then stays even later just looking through the shots and choosing which ones to include. puts a lot of time and effort into things like this. after all, his image and his brand are important to him.

shidou would be sponsored by an energy drink brand. like red bull or monster. if not that, then axe body spray lol. as for modeling, i feel like he wouldn't be able to sit still. probably pulls out crazy poses that piss the photographers off on purpose. it always cracks me up how one of his first appearances in the manga is him being muzzled and restrained in a straitjacket inside blue lock's time-out zone. he's so chaotic. you would have to hold him down and shove the camera into his face to actually get a good shot. i also picture him wearing lots of black leather, maybe even silver jewelry (eg. studs, piercings). and of course, you can't forget the hot pink accents.

isagi would model for family-friendly brands. if not that, then just japanese brands in general. i imagine him doing skincare commercials for shiseido or maybe even participating in a campaign for UNIQLO. as for modeling, he would be awkward at first but then gradually get the hang of it. always thanks the team afterwards and is very mindful of the photographer's suggestions. everyone says he is a pleasure to work with.

rin would model for luxury watch brands like TAG heuer or IWC. maybe when he grows older and further develops his career, he might even become an ambassador for louis vuitton or bulgari. overall, his advertisements are very elegant and professional. only endorses high quality products. never looks at the shots afterwards because he hates looking at his own face. gets somewhat embarrassed when his mama points out his billboards and makes clippings of his magazine covers. he absolutely flipped when a brand suggested that he do a collaboration with his brother. so when this collaboration actually did take place, it was like a repeat of the whole messi-ronaldo photoshoot. they didn't actually meet on set. they were just photoshopped together into the same frame.

barou models for calvin klein. lots of denim and shirtless photos. all of the staff got nosebleeds, and his fanbase went wild when the issue was finally released. there's this one image his fans worship religiously where he's posing in his boxers and there's a clear shot of his abs and happy trail. (he's so hot wtf) there's also another shot that wasn't used cus a million people would've been deceased. he's standing there with his thumbs in the belt loops of his jeans and wearing nothing underneath his denim jacket. his hair is also down, and his skin is all sun-kissed and golden.

reo models streetwear, and this is canon because he has the drip. honestly, his duality needs to be studied because he can go from high class gentleman to bad boy who wears chains and knuckle rings. he'd try all different sorts of styles, and he'd look good doing it. out of all the bllk boys, i feel like reo gets the most sponsorship deals because of his versatility. he does the styling, hair, makeup, posing, editing, etc. honestly, they need to hire him as a creative director already. nagi would tag along behind the scenes, but he'd end up scrolling on his phone the entire day.

#asks #blue lock #blue lock imagines #blue lock fluff #sae itoshi #michael kaiser #shidou ryusei #isagi yoichi #rin itoshi #barou shouei #reo mikage #nagi seishiro #bllk #bllk headcanons

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reality-detective · 1 year

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💥💰 Revealed: The Secret Empire of the Rothschilds, Rockefellers, and Morgans 💰💥

Prepare to uncover the shocking truth about the world's most influential families and their iron grip on the global economy. The Federal Reserve Cartel, comprised of the Rothschilds, Rockefellers, and Morgans, holds unparalleled power that extends far beyond the realm of oil.

Picture this: The Four Horsemen of Banking, including Bank of America, JP Morgan Chase, Citigroup, and Wells Fargo, join forces with the Four Horsemen of Oil, such as Exxon Mobil, Royal Dutch/Shell, BP, and Chevron Texaco. But their domination doesn't stop there. They have extended their reach to encompass the music industry through an intricate network of private banks. These behemoths, along with Deutsche Bank, BNP, Barclays, and other European old money giants, control the strings of the music industry, enabling them to dictate its direction and influence.

The nefarious deeds of the Rockefeller dynasty are far-reaching, starting with their military-commercialization of music in the early 1900s. They orchestrated a diabolical plan to shift the world's standard tuning of music to 440 pitch. This insidious frequency was known to provoke greater aggression, psychosocial agitation, emotional distress, and even physical illnesses. Behind the scenes, this manipulation led to financial gains for those complicit in the monopoly, including agents, agencies, and companies connected to the North American Rockefeller crime cartel and elite organizations.

Fast forward to the late 1980s, when the Rockefellers summoned the top music executives and talent to a highly secretive meeting in Los Angeles. Their sinister agenda? To usher in the era of Controlled Rap Music, tightly linked to the privatization of U.S. prisons. These privately owned prisons, operated by the Rockefellers, Rothschilds, Bush family, and other influential figures, served as money laundering operations, tax exemption schemes, and pyramid scheme operations.

The Rockefellers devised a cunning plan to control the rap industry and target black communities by promoting violent music that fueled oppression and civil unrest. They brought together top executives and leading black artists, binding them with confidentiality agreements. Their objective was clear: coordinate the violence within the rap music movement, while major record labels gained exclusive rights for production and distribution across the United States. As a reward, they would receive shares and points within the private prison systems.

The Masonic plan unfolded with precision, resulting in over 1,500 private prison systems housing more than 1 million black teenagers by 1990. These vulnerable youths, expressing the generational trauma imposed upon them, unknowingly contributed to the Rockefellers' malevolent scheme. The private prison systems reaped billions annually from the government, creating a vast money laundering network through inflated products, such as ramen noodles priced 8 times higher than their actual value. The flow of hundreds of billions from government funding, pyramid schemes, and insurance companies transformed the privatization of prisons into a multi-trillion-dollar venture.

Local courts and judges mercilessly sentenced petty criminals and first-time offenders, filling the ever-expanding private prisons. As a result, the United States now holds the dubious record for the highest number of incarcerated individuals in the world, with an unprecedented number of prisons. This was not an accident—it was a meticulously orchestrated plan by the Rockefellers.

But their influence doesn't end there. These silent thieves also manipulate elections, ensuring their grip on power remains unbroken.

Unmasking the true face of those who control the world, the Rothschilds and Rockefellers find themselves in the crosshairs of military alliance operations aimed at dismantling the Rothschilds' deep state power in Europe, the UK, Russia, and China.

Are you connecting the DOTS? 🤔

#pay attention #educate yourself #educate yourselves #knowledge is power #reeducate yourself #reeducate yourselves #think for yourself #think for yourselves #think about it #do your homework #do your own research #do some research #do your research #question everything #ask yourself questions #connecting dots

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drachenmagier · 1 year

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Hi! Saw your post about commissioners using AI as a skeevy way to get cheap fully-rendered art from artists (thank you for spreading the info btw! Deeply concerning the ways these AI programs are being used to make an already difficult field of work even harder 🥲).

But it also got me thinking a bit about TOS's and pricing your work, particularly commercial work... I'm in the process of preparing to open up for commissions for the first time in years myself, and was wondering if you had any advice/resources for putting together a professional looking TOS and figuring out how to handle commercial licensing? I know this stuff tends to be super regional, but it's so hard to find consistent information online on the topics 😞

I can only tell you how I handle it. :) For normal commissions, do feel free to copy whichever part of my TOS you think will work for you from my private commission info. If you're not Swiss, the last line on the page won't be usable.

A lot of doing art and illustration commissions is trial and error. I know it was for me. Tons of mistakes and hopefully not repeating them.

For pricing, a friend told me two things that stuck with me and helped deciding on prices since then.

First thing she told me is that exclusive rights for a simple caricature for a newspaper go for USD 800.- and up. Mind ya, she said that YEARS ago. And prices change. But if a simple black and white doodle goes for USD 800.-, don't sell exclusive rights to your full colour A4+ artwork for less.

If in doubt, don't sell your exclusive rights at all. Most clients don't need them and if someone tells you they will give you USD 25.- and a voucher for -10% off their own product for it, tell them to fuck off.

People will try. And you will learn to say no.

The second important pricing tip I got from said friend: decide on a price that makes it easy for you to let go. If you regret having sold it, the price was not high enough.

Most companies have their own contracts and their own price lists. It helps if you are able to adjust your work to their budget and deadline.

Read the contracts carefully, don't skim anything, only sign them when you understand them. Especially US-contracts have a lot of complicated looking clauses in them, like the Indemnification clause. If they tell you that a clause is just there and you don't need to understand it, you can sign the contract as it is: run.

Most clients won't actually need or even want exclusive rights, simple print licenses will be enough for them. A rough over-the-thumb minimum pay would be around CHF 200.- to 250.- per work day.

I will add a third point here:

If you really want something to exist and be a part of it, then do it. Have fun. We mostly regret the things we never tried and never did. And if you only do things for the money and don't get paid, it leaves you with nothing (my thanks to Neil Gaiman and his commencement speech "Make Good Art").

Some of my most amazing commissions were orders from people who couldn't pay a lot, but were awesome individuals with fantastic ideas. And I don't regret a second of the work I put into those commissions. But THAT is your decision. And purely yours. Don't let people tell you what to be exited about.

Maybe the thing you will be exited about is a kid that wants to pay you three shiny rocks for a drawing of their super hero princess cat wizard.

And you will make it the fucking best super hero princess cat wizard for one of the rocks, because you don't want the kid to have no shiny rocks anymore~. <3

#drachenmagier #artist help #advice #artists on tumblr #commissions #super hero princess cat wizard

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dean-winchesters-clit · 2 years

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With the release of the Little Mermaid (2023) trailer, I want to tell you all about the gay man who saved Disney

After the death of Walt Disney in 1966 and Roy Disney in 1971, the Disney Animation Studio floundered for over a decade and a half. The movies released following the Disneys’ deaths did not do well at the box office or with critics, and the company began losing money quickly. It didn’t help that during the production of The Fox and The Hound, Don Bluth along with a bunch of other Disney animators left the company to start their own animation studio.

After The Fox and The Hound released in 1981, Michael Eisner (best known as the inspiration for Lord Farquad) took over after Walt Disney’s nephew resigned as CEO. Michael Eisner came into the company with the sentiment that they “had no obligation to make art”, and released The Black Cauldron in 1985 to critical and commercial failure. The company hit rock bottom and in response, Eisner moved the animation studio out of the buildings that were DESIGNED FOR ANIMATORS TO ANIMATE IN and into various hangers, warehouses, and trailers. Eisner was about to get rid of the animation studio for good until Walt Disney’s nephew intervened. Thanks to the mild success of The Great Mouse Detective and Oliver and Company, Eisner gave the animation studio another chance.

That’s where our man comes in.

Howard Ashman was born in Baltimore, Maryland in May of 1950. He and Alan Menken (the composer for many many many Disney films) collaborated on The Little Shop of Horrors. Ashman was the lyricists, librettist, and director of the project while Menken wrote the music. They were nominated for a Grammy Award and Ashman received a Drama Desk Award for Outstanding Lyrics. Ashman then wrote the screenplay for the Frank Oz film adaptation of the musical.

Ashman was brought in to Disney to write a song for Oliver and Company. While there, he was told about several projects the animation studio had on the back burner, one of which was The Little Mermaid.

Ashman became a driving force behind the creation of The Little Mermaid and subsequently, all of the Disney films made between 1989 and 1999. He explained to the animation team how musical theater and animated films were made for each other, and how they had the exact same amount of suspension of disbelief for audiences, which made them a perfect substitute for live action movie musicals which had gone out of fashion after the 1960s.

Ashman wrote all the lyrics to the songs in The Little Mermaid and insisted that Alan Menken be brought on to write the score and music. It was Menken’s first ever movie score and he fucking nailed it. Ashman was the one who insisted on bringing on actors who had musical theater backgrounds. He also insisted that Sebastian the crab be Jamaican so he could include Caribbean inspired music and have an “up” number during the movie. He explained to the writers how musicals were structured, where to include songs, and how those song would weave themselves into the story and feel natural. Ashman was credited as a producer on the film, which was released in 1989 to ENORMOUS SUCCESS. Ashman then went on to write the lyrics to the songs in Beauty and the Beast and three songs from Aladdin, the latter of which he pitched to Disney as an animated musical and wrote a treatment for.

After the release of The Little Mermaid, Ashman revealed to Menken that he had tested positive for HIV/AIDs. Jeffery Katzenburg, the then animation director at Disney, fully supported Ashman during the making of Beauty and the Beast, even creating a studio near his home in New York so he could work easier while receiving treatment. He got to see a private early screening of Beauty and the Beast before he lost his eyesight. He died of heart failure seven months before the film was released in November of 1991.

Beauty and the Beast received a standing ovation at its premiere and was the first and only animated movie to be nominated for Best Picture at the Oscars, a decade before the Best Animated Feature category was added. The film is dedicated to Howard Ashman, a message at the end of the film reading, "To our friend Howard, who gave a mermaid her voice and a beast his soul, we will be forever grateful.“ Beauty and the Beast won for Best Original Song at the Oscars, the award presented to Alan Menken and Howard Ashman. Ashman’s partner Bill Lauch accepted the posthumous award for Ashman, making it clear to the audience that he and Howard were a couple and loved each other. Disney was furious that Lauch had said those things during his acceptance speech.

Following Ashman’s death, the 2002 special DVD release of Beauty and the Beast added the song “Human Again” which Ashman and Menken wrote but was cut from the original film. The DVD also featured a special short called Howard Ashman: In Memorium. It features many people from the animation studio talking about Ashman and his invaluable contributions to the films he worked on. Jeffery Katzenburg said that there were two angels watching over them during his days at Disney: Walt Disney himself, and Howard Ashman.

If it weren’t for Howard Ashman, a gay man who died of AIDs in 1991, Disney would not be what it is today. They would have continued to flounder and eventually have gone under. Ashman brought Disney back to life and gave us unforgettable films and inspired countless others. He was the backbone of the Disney Renaissance, creator of the formula that these films followed and allowed them to succeed where previous films hadn’t.

And the modern Disney Corporation refuses to acknowledge his existence. While doing research for this post, I found a documentary on Disney+ about Howard Ashman. It has a one minute long trailer on the Disney+ YouTube account and that’s it. There’s no other marketing for this documentary, no one posting about it, NOTHING. It came out in 2018. FOUR YEARS AND NO ONE KNOWS IT EXISTS. Disney has been erasing the existence of queer people in their history and continue to profit off of the work that queer people did to keep their company afloat. The Beauty and the Beast remake was the first Disney movie to make over a billion dollars and in doing so, they butchered the work of a dying gay man who didn’t even get to see the finished film he worked so hard on.

So, as you make art and gif posts about The Little Mermaid (2023) as more and more trailers and promotional material come out for it, remember Howard Ashman. Remember the man who gave many of us our childhoods, who gave a mermaid her voice and a beast his soul.

Rest in peace, Howard.

Here is a video the goes more in depth about Howard’s contributions to Disney and the history surrounding the importance of The Little Mermaid:

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icestarphoenix · 1 year

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Kellogg's Headcanons

A lot of these can also apply to a lot of other corporate personifications, specifically with how their executives treat them.

Kellogg’s, along with other brand company-based personifications, can’t resist doing random product placements or segueing into ads at any time. It’s an instinct.

This annoys Gov quite a bit due to it often derailing meetings, but Florida likes the free food.

Kellogg’s doesn’t have his own house. He lives in a bedroom suite in the headquarters that was designed and built just for him.

Has never actually tasted any cereal from other brands besides his own, the handlers managing him make sure of that. Could you imagine the scandal?

The wardrobe his executives and stylists picked out for him can only be described as “young and hip advertising space.” Kellogg’s is often made to dress in more sporty attire that was precision calculated for maximum appeal to promote his cereal as “part of a complete breakfast” like in Frosted Flakes commercials.

He has custom outfits themed around specific cereals and other Kellogg’s products. For example, he has a sporty fit themed around Frosted Flakes, complete with a blue varsity jacket with tiger striped sleeves.

He’s secretly bought a few clothing items by himself that he daydreams about wearing out in public one day.

One of the staple items he wears is a red bandana around his neck with his name embroidered in black.

Kellogg’s is being put on a vegetarian diet to keep the company’s image as “One of the Original Plant-Based Food Companies.”

He can still eat stuff like eggs and cheese as well as drink milk, he just can’t eat meat or meat products. However, with Morningstar Farms and Incogmeato, this isn’t too hard for him.

He can be a bit prudish, both from needing to keep a family-friendly image and from the reason why corn flakes were made.

If you know, you know.

He has worn a Tony the Tiger fursuit for an ad before. It’s what his executives wanted. It wasn’t a choice.

Kellogg’s also ran the Tony Twitter account while it was still active. He’s seen some things.

If the insinuations aren’t clear, corporate personifications don’t tend to have much freedom or choice.

#welcome to the table #welcome to the statehouse #ben brainard #wttt #wttsh #wttt kellogg's #headcanons #been a while huh

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conjuremanj · 1 year

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Traditional Hoodoo vs. "Marketeered" Hoodoo.

The culture and practice of Hoodoo was created by African Americans. Hoodoo includes reverence to ancestral spirits, animal sacrifice, herbal healing.

Holy Ghost shouting, praise houses, snake reverence, African American churches, Kongo cosmogram, graveyard conjure, the crossroads spirit, incorporating animal parts and the Bible is all apart of African American tradition.

During the twentieth century, white drugstore owners and mail-order companies owned by white Americans changed what African Americans created into there own version and culture of what they think is hoodoo. The hoodoo that we see practiced outside the African American community is not the hoodoo created by African Americans in the south. It is called "marketeered" hoodoo. This fake version of hoodoo is a commercialized version or tourist hoodoo.

Hoodoo was modified by whites and replaced with their practices and tools. While traditional hoodoo may not be practiced in secret. New this new hoodoo spread from southern African American community's into this product that's marketed on the internet uses.

There are a shit load of videos on the internet of people fabricating spells calling themselves Papa or root worker and others claiming to be experts on hoodoo and offering paid classes for the uneducated to writing books. As a result, people outside of the African American community think this marketeered hoodoo is authentic Hoodoo. Like the Luck Mojo company.

Now people thinks that this new Hoodoo is just spells and tricks. That Hoodoo is all about how to hex people and candle spells for love and money etc. Which is a problem. For example, High John is a black man maybe or not from Africa enslaved in the United States whose spirit resides in this practice (not the root) is how the story goes.

But It's crazy how white americans replaced root workers in African American communities, and began putting an image of a white man on their High John the Conqueror product labels. As a result, some people do not know the African American folk hero High John the Conqueror is a black man and goes as far as changing the story.

This is takes away our spiritual beliefs and makes white spiritual merchants the authority on hoodoo.

Hoodoo should be examined from the Black American experience really southern black culture, and not from the fake crap that is found in books, online and published by people don't know the culture.

Like the people who built a big business in hoodoo and learn from books by Harry Hyatt. Now I'll tell ya those book are are mostly inaccurate and not complete.

Basically it's great to see anyone from any race who want to know about this practice and this culture. But learn the right way.

#marketeered hoodoo #Commercial Hoodoo #spiritual #google search #rootwork #traditional hoodoo #southern hoodoo #like and/or reblog!#follow my blog #update post #traditional rootwork #southern rootwork #Fake hoodoo

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sophiamit · 2 months

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The Black and Decker Corporation

I was surprised to see that the two segments of tradesmen and industrial are so different. Tradesmen would appear to have more brand loyalty, as these are consumers who bought their own tools for on the job use, whereas industrial are purchased by the company. When Makita is selling more, it is a direct result of how the consumer views the brand, in this case carpenters using the products. Although B&D and Makita have similarly-performing products, the Tradesmen have a perception that Makita makes higher-quality (82% vs. 51% for B&D) and durable tools (71% vs. 48% for B&D). Perception becomes reality when it relates to what is purchased, especially considering Makita is priced at a premium.

It is interesting because I believe I identify like most customers and know Black and Decker for the household products, such as the vacuums and kitchen supplies. This segment being the largest percentage of B&D's revenue in turn hurts the brand, as to professionals it is seen as a "use at home not on the job brand". And, to a consumer like me who is not a carpenter and has no plans to be, this doesn't bother me, but I'm not the target demographic. The customer base in each segment have distinct preferences, buying behaviors, and economic sensitivities. Changes in any of these factors could impact the performance of Black and Decker's shares in each segment differently. Prior to this case, I had not thought about the strength of a consumer brand being a detriment to a commercial brand.

Case: The Black & Decker Corporation (A): Power Tools Division

#MITSloanBranding2024A

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kuampinc · 3 months

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Film Advertising Company | Commercial Production Studio - KUAMP Inc

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Step into the spotlight with KUAMP Inc, where your vision meets cinematic excellence. Our film advertising company and commercial production studio are at the forefront of crafting compelling narratives that captivate audiences and amplify your message. Join forces with KUAMP Inc and let's produce not just commercials, but landmarks in visual storytelling!

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stephblair · 2 months

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Reaction #1 - Black and Decker

While reading The Black & Decker Corporation: Power Tools Division, I was reminded about how ubiquitous a brand B&D is. I associate it with going to Home Depot with my dad on the weekends and watching HGTV with my mom. However, after asking my parents and my fiancé what home power tools they use, I learned that no one I am close to owes B&D - I simple recognize the brand because of their brand recognition power.

While I do not know much about the power tools industry, I was surprised to learn that although B&D leads in the Professional-Industrial and Consumer spaces, it lags in the Professional-Tradesmen space. Why would this be? To me, it seems that if you trust B&D in your own home & you trust the tools that your commercial contracting company uses, why then as a tradesman who brings your own tools to the job would you not trust B&D? The case proposes 3 ways to handle the Tradesman segment: focus on the other segments; create a sub-brand; remove the B&D name from the trainmen segment and utilize a different name. The consumers in the Tradesman space seem too well informed to me to be fooled by the latter two proposals - if they are meticulous about what tools they purchase for themselves, I would assume that they would do enough research into a new tool and learn that it was made by B&D. I believe that if B&D wants to make headway into the Tradesman segment, they must do so with their own name at the forefront and with a change in advertising.

Additionally, I am new to branding and was surprised to find how research heavy it is! In their initial assessment of their brand awareness, B&D conducted research on brand perspective, product research on how effective their tools are (with the logos removed), and brand awareness research. Eager to learn more!

Case: The Black & Decker Corporation (A): Power Tools Division

#MITSloanBranding2024A

#mitsloanbranding2024a

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mia-seth-adventures · 10 months

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Charles Richard Patterson and Sons were the first and only Black Automobile Company in history. Born enslaved in Virginia in 1833, C.R. Patterson escaped, travelling over the Allegheny Mountains, through West Virginia and across the Ohio River. He settled in Greenfield, Ohio, a station on the Underground Railroad.

Patterson learned blacksmithing skills and went to work for a carriage-making business. In 1873, he formed a business partnership with another local carriage manufacturer, J.P. Lowe. For the next 20 years, the duo ran a successful business making expertly crafted horse-drawn carriages.

In 1893, Patterson bought out Lowe and became the sole proprietor and renamed the company C.R. Patterson & Sons. When he died in 1910, his son Frederick took over the business. Frederick was already a pioneer, becoming the first black man to play football for Ohio State University. Frederick knew that automobiles were the future.

C.R. Patterson & Sons produced its first car in 1915. Known as the Patterson-Greenfield automobile, it sold for $850. The Patterson-Greenfield model was comparable to the Ford Model T, even though the Ohio company couldn’t match Ford’s manufacturing capabilities. In the 1920s, after producing approximately 150 cars, Patterson & Sons switched to the production of trucks, buses and other commercial vehicles. Hit hard by Jim Crow and then the Great Depression in 1932, the company began to spiral downward. It closed in 1939.

There are no known Patterson-Greenfield automobiles in existence today, but several C.R. Patterson & Sons Company carriages have survived. The National Museum of African-American History & Culture states that Patterson & Sons remains the only black-owned automobile company in United States history

#seth #mia seth adventures #monthly magazine #august #transport #cars #patterson-greenfield #black history #black tumblr

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whalien52hzero · 11 months

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BASICS

FULL NAME: NIRAN SRISUWAN [ นิรันดร์ ศรีสุวรรณ ]

» MEANING: Niran [ นิรันดร์ (Thai) Means "forever, eternal." ]; Srisuwan [ศรี (sĕe) meaning “glory, majesty, splendour” combined with สุวรรณ (sù-wan) meaning “gold, golden.”]

OTHER NAME(S): The Inuits called him ‘Kitsanik’, it means ‘sadness’ in their language. He was also sometimes called ‘Aput’ because of his brighter color than other Baleen whales they’ve observed.

VERSE: The Meaning of Forever; Serendipity.

NICKNAME(S): Zero.

AGE: 203 years old before reincarnation; human form is 26-years old.

DATE OF BIRTH: 8th November 1997, Saturday, early morning.

PLACE OF RE-BIRTH: Bangkok, Thailand.

OCCUPATION: Works part-time at a 7/11 at night for fun; employed at Amarin Media Group as part of the Production Department.

RELIGION: Buddhist.

ORIENTATION: Bisexual, Biromantic.

GENDER: Cisgender male.

STRENGTHS: Extra-ordinary ability in the water.

WEAKNESSES: He has human’s weaknesses; he can get sick and injured.

PERSONALITY

STRENGTHS: Resourceful, Powerful, Brave, Passionate, Loyal.

WEAKNESSES: Obsessive, Jealous, Violent, Manipulative, Distrusting.

APPEARANCE

FACE CLAIM: Net Siraphop Manithikhun.

HEIGHT: 5'10 ft. [179 cm.]

WEIGHT: 154 lbs. [79 kg.]

BUILD: Lean, muscular.

GAIT: TBA.

HAIR COLOR: Black.

EYE COLOR: Brown.

BIRTHMARK: TBA.

OVERVIEW:

» SCARS: Small scars from minor accidents when he’s growing up.

» TATTOOS: Yes. Tribal tattoos on his arms of a whale.

BACKGROUND

HOMETOWN: Bangkok, Thailand.

RESIDENCE: Nonthaburi, Bangkok, Thailand.

NATIONALITY: Thai.

ETHNICITY: Asian.

FINANCIAL STATUS: Upper-class.

EDUCATION LEVEL: Zero graduated from the Department of Motion Pictures and Still Photography under the Faculty of Communication Arts in Chulalongkorn University.

DEGREES: He graduated in 2020.

HOBBIES: Traveling, watching movies, taking pictures, aquariums, swimming.

SPOKEN LANGUAGES: Zero is mute but he learned to speak through therapy when he was little. His first language is Thai. He knows English since he was little because of his parents who are educators and professionals who practice and use the language. Zero picked some Mandarin, Filipino, Korean, and Japanese while attending Chulalongkorn University.

RELATIONSHIPS

PARENTS: Nisa [mother]; Pongsakorn [father]

SIBLINGS: Natthawut, Napha, older brothers, 29 and 26 years old.

CHILDREN: He has no children.

PETS: A male calico cat named Goblin.

SIGNIFICANT RELATIONSHIPS: » TBA.

FAMILY HISTORY: Zero is the youngest of three children. He was born in a supportive family and each member is talented in their own way. Zero had a happy childhood for the most part; being the youngest he was protected and spoiled but also taught to be compassionate and humble but sometimes, he does get a bit stubborn. Zero has two older brothers, Saam [three in Thai] and Sky [nickname is literal translation of the name] and they got along growing up. They were very popular in high school and also in their university. Everyone in Zero’s father’s family side went to the same high school and university and had always held a place and popularity in these establishments. Zero, along with cousins, were one of the youngest in their family that attended the uni and reaped the benefits of carrying their last name. Zero exceled academically and also in sports. Many of his juniors looked up to him and although he realized that it was an honor to be in such position as he did, he felt that the attention and popularity was also due to his inability to speak. Did they pity him? He had many friends but often time, he preferred being along and spent his weekends doing his own thing instead of hanging out like other people his age. Zero had been gripped by a deep loneliness that he believed is beyond the many concerns that he currently possess... Since he graduated, Zero has been working at Amarin Media Group in the company's production department, working on ads/commercials for big brands in Thailand and other neighboring countries. Despite not being able to speak, Zero is a good communicator and was able to prove that he can handl whatever job was given to him. He worked his way up as one of the youngest directors/producers in their department. Although many employees in the company, most of them jealous of what Zero was able to accomplished at a very young age, would say that he got the position and popularity because of his name.

BEFORE HIS REBIRTH: Zero was also known as Kitsanik and sometimes Aput by the Inuits who observed him as he roamed the ocean searching for potential friends and partner. But his inability to communicate with other whales of his kind prevented him to create his own pack, causing him to live alone own his own as no whale ever heard his call out to them.

ROMANTIC HISTORY: Zero had been linked to various people but he never had a serious relationship. He felt many people who wanted to date him only liked him because of his popularity or they show interest in him because they pity him.

PLATONIC RELATIONSHIPS: Zero became good friends with the company's founders.

THOUGHTS ON LOVE: "There’s someone out there for me.”

HEALTH

PHOBIA(S): Being alone and yet, he also prefers being alone.

HANDICAP(S): None.

MENTAL DISEASE(S): Depression.

PHYSICAL DISEASE(S): None.

PREDISPOSITION(S): Alcoholism.

#{ character sheet: zero }

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reality-detective · 7 months

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Exposed: The Secret Dominion of the Rothschilds, Rockefellers, and Morgans 💥

Prepare to uncover the startling reality behind the world's most influential families and their immense control over the global economy. The Federal Reserve Cartel, consisting of the Rothschilds, Rockefellers, and Morgans, wields unprecedented power that extends well beyond the realm of oil.

Imagine this: The Four Horsemen of Banking, including Bank of America, JP Morgan Chase, Citigroup, and Wells Fargo, unite with the Four Horsemen of Oil, such as Exxon Mobil, Royal Dutch/Shell, BP, and Chevron Texaco. Yet, their dominion doesn't stop there. Through an intricate web of private banks, they have expanded their influence to encompass the music industry. These colossal entities, along with Deutsche Bank, BNP, Barclays, and other European old money giants, hold the reins of the music industry, allowing them to shape its trajectory and exert their influence.

The Machiavellian machinations of the Rockefeller dynasty reach far and wide, commencing with their commercialization of music in the early 1900s. They orchestrated a sinister plot to shift the world's standard tuning of music to 440 pitch. This insidious frequency was known to provoke heightened aggression, psychosocial agitation, emotional distress, and even physical ailments. Behind closed doors, this manipulation resulted in financial gains for those complicit in the monopoly, including agents, agencies, and companies associated with the North American Rockefeller crime cartel and influential organizations.

Fast forward to the late 1980s when the Rockefellers summoned top music executives and artists to a highly clandestine meeting in Los Angeles. Their sinister agenda? To usher in the era of Controlled Rap Music, intricately linked to the privatization of U.S. prisons. These privately owned prisons, operated by the Rockefellers, Rothschilds, Bush family, and other influential figures, served as money laundering operations, tax exemption schemes, and pyramid scheme enterprises.

Crafting a deceitful plan, the Rockefellers aimed to control the rap industry and target black communities by promoting violent music that fueled oppression and civil unrest. They brought together leading executives and prominent black artists, binding them with strict confidentiality agreements. Their objective was clear: orchestrate violence within the rap music movement while major record labels secured exclusive rights for production and distribution across the United States. In return, they would receive shares and points within the private prison systems.

The Masonic scheme unfolded with precision, resulting in over 1,500 private prison systems incarcerating more than 1 million black teenagers by 1990. These vulnerable youths, expressing the generational trauma imposed upon them, unknowingly contributed to the Rockefellers' malevolent plan. The private prison systems reaped billions annually from the government, establishing an extensive money laundering network through inflated products, such as ramen noodles priced at 8 times their actual value. The flow of hundreds of billions from government funding, pyramid schemes, and insurance companies transformed prison privatization into a multi-trillion-dollar enterprise.

Local courts and judges mercilessly sentenced petty criminals and first-time offenders, filling the expanding private prisons. Consequently, the United States holds the unfortunate record for the highest number of incarcerated individuals in the world, with an unprecedented number of prisons. This was not a coincidence—it was a meticulously orchestrated plan by the Rockefellers.

But their influence doesn't stop there.

As the true faces of those who wield global authority are revealed, the Rothschilds and Rockefellers find themselves targeted by military alliance operations aiming to dismantle the Rothschilds' deep state power in Europe, the UK, Russia, and China.

- Julian Assange WikiLeaks 🤔

#pay attention #educate yourselves #educate yourself #reeducate yourself #knowledge is power #reeducate yourselves #think for yourselves #think about it #think for yourself #do your homework #do your own research #do some research #ask yourself questions #question everything #wikileaks #julian assange #news

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