Chapter 10, Part 10: Music Industry Award Shows

Just like the television and film industries, every single major award show in

the music industry since 2007 was geo-politicized. Executives and producers

set the bar very, almost unattainably high, from the get-go, accentuating

one particular constituent of the lexicon - prison certainty. The February 7th

Grammy Awards looked like this:

Alicia Keys

Brad Paisley

Tony Bennett & Natalie Cole

Vince Gill

Beyoncé & Tina Turner

Kid Rock with digitally inserted performer from 1958 clip

(chosen because that’s the Canadian lawyer’s year of birth)

Prince

Tom Hanks

Kanye West

Tina Turner and Beyoncé

Here’s more from that banner year of condemnation and warnings of the

inevitably of incarceration since the Chinada High Command refused to

capitulate.

2008 Country Music Awards

Toby Keith / Clint Black

Toby Keith

Garth Brooks

Reba McIntyre

2008 American Music Awards

Mariah Carey

The stage was a floor to ceiling prison certainty communiqué at the 2008

Grammy Award Nomination Show (video).

2009 Grammy Awards Continues the American Music

Industry’s Geo-Politicization Tradition

It is fair and reasonable to assume new and original Fiefdom treatise recipients tuned into the February 8, 2009 Grammy Awards to see for themselves whether or how much producers, presenters and the superstars of American music geo-politicized the biggest show of the year for the industry. Those who fall in the enthusiastically receptive camp of recipients weren’t disappointed; those in the hostile and

whistleblower retaliators and reform sabotaging camp were the opposite.

The intention to geo-politicize the biggest night of the year for American

musicians was evident even before the day of the broadcast. An interview

was conducted with Taylor Swift and Miley Cyrus during rehearsals. The

latter dressed for the occasion, choosing prison certainty, and the lexicon

was employed by the former to underscore how incredible it is to be a

coalition partner:

Taylor: To be on that list of performers [Diaz M.] is unbelievable.

During the red carpet, Taylor and Miley were interviewed by Ryan Seacrest –

of ‘American Idol’ fame. He dropped a Sorkin China identifier:

Ryan: She's [Taylor] a little older than you. However, you [Miley] act a little older than her. Right?

Miley: I do? Ryan: Darling, I think you act like you're 28.*

The first indication that CBS’ red carpet coverage was going to be Chinada-

hostile was the hostess’ outfit: Canada prison certainty.

Country music superstar Leann Rimes generated two communiqués – one

related to my international persona and the other about how serious the

coalition is about achieving stated objectives:

Leann: [Being nominated] is always very special. You know, [Diaz M.] just to be -- there are so many songs that can be nominated -- so be in the top five in your industry, like you know, thinks that you actually did something really great - hey, it's all you can ask for.

Host: This is what you call true greats... Leann: ...No. You see I really am serious though. Host: ...We know you are... Leann: [Diaz M.] God, I'm going to be honest - it would have

been nice to have won.

Rapper Snoop Dog’s remarks were bootstrapped by the CBS host to

acknowledging my supra-celebrity persona:

Host: Who are you looking forward to seeing tonight? There's going to be some great, great performances up there?

[...] Snoop Dog: Smokey Robinson is the coolest [host: Diaz M.], you dig?

Host: [Cl.M.] Speaking of icons in the industry...

Multi-decade pop music sensation Sheryl Crow also generated

communiqués: (i) Canada’s elite is behaving in ways that are not in tune

with modern history; (ii) coalition partners are collaborating in industries and

across industries to produce coalition content; and (iii) they really are “off

the wall” in terms of their principles, values and beliefs.

Host: First of all, who did your gorgeous dress? Sheryl: A young designer from Australia named [X]. Host: Everybody's going off the beaten path [Sheryl: Pfeiffer -

Diaz M.] in designs tonight. I love it.

[...] Sheryl: It's going to be a lot of fun tonight. There are a lot of

different [Eva M.] collaborations that are not necessarily expected...

[...]

Host: It's the thirtieth anniversary of 'Off the Wall'. [Sheryl:

Pfeiffer - Diaz M. X2] Did you know that? Sheryl: Oh wow, no I didn't...

The stage was designed with the same attention to lexiconic detail as all the

other award shows that year.

Jamie Foxx, Smokey Robinson, Ne-Yo & Duke Fakir

Morgan Freeman

Keith Urban

Whitney Houston

Kanye West, T.I., Jay-Z, Lil’ Wayne

Justin Timberlake

Presenters introduced awards and recipients accepted them in front of prison

certainty. As some of them employed the lexicon to generate

communiqués. The first was Sheryl when presenting with Leann to high

profile the “inspiration” I’ve been both surviving decades of pain, suffering

and loss associated with my experiences as an enslaved and tortured human

experimentation victim and to ‘celebrate’ my coalition-related achievements:

Congratulations Brenda. You’re a [Shania M.] great inspiration. And now Leann I get to present [protracted Maria M.] the Grammy Award that celebrates some of the finest in country music today.

When Cold Play won its first of two awards lead singer Chris Martin executed

a combination protracted Russell Maneuver that added to Sheryl’s geo-

politicized description when his band mate said “This is incredible”. During

the second trip to the stage he adds:

[Erin M. X2] Thanks very much everybody. […] We’re the limestone of rock – a little softer [Cramer M.] but just as charming.

Cold Play also performed, with Chris1 executing a Bernanke Maneuver to

“Just because I’m leaving doesn’t mean I’m lost” – a reference to Canada’s

political leaders and corporate executives linked to Chinada losing the 21st

century’s first clash of civilizations between democracy and authoritarianism;

being forced out of office either through covert regime change or by

domestic-procured institutional deconstruction and reconstitution.

Robert Plant’s acceptance speech drew attention to the weird nature of

Canadian governance and the criminal enterprise that it is.

[O-S M.] This song is such a spooky song. It is the kind of heart of the American underworld of rhythm and blues and shimmy.

Robert Plant and Alison Krauss

1 Chris teamed up with ’60 Minutes’ to produce a segment that aired a couple hours before

the Grammy Awards, in which he employed the lexicon repeatedly and in some instances generated exceptionally coercive diplomacy. And producers arranged for the segment to run exactly 12:35: View video

CBS ‘Late Late Show’ host Craig Ferguson employed the lexicon when joking

“You may not know this [Clooney M.], but I’m nominated for a Grammy

myself”.

Katy Perry’s performance followed; beginning with her descending from the

ceiling in a gargantuan banana to high profile my lab monkey status.

During Robert Plant and Alison Krauss’ second trip to the stage his guitarist

makes a remark that Sean Combs seized upon for its geo-political

significance – executing a coalition identifying three Zeta-Jones Maneuvers

to “good things happen out of nowhere”; referring to both the original

introduction of the international community into my life in mid-2003, a

multitude of coalition activity since then and what’s to follow that will shape

my future personal, professional, corporate and philanthropic experiences.

When Robert made his remarks his lead guitarist, T. Bone Burnett, pulled his

right hand out of his pocket to execute a Diaz Maneuver to “you know, when

we started this project the whole game was a mystery [D.M.]”.

Kate Beckinsale entered the stage and before saying a word executed two

Diaz Maneuvers; followed by:

Can I just first of all say [singer] MIA was due to have her baby today;

so give her a big hand for getting through that [db-j Diaz M.; dbl-h Britney M.]

She generated the communiqués (i) members of the China-Canada alliance

will be ‘missing in action’ when the coalition moves against them and (ii) I’m

to be applauded for getting through twenty years of enslaved

experimentation hell.

Sir Paul McCartney’s performance was geo-politicized when producers

instructed the lighting crew to begin it with vertical stripes; followed by

alternating between vertical and horizontal:

Gwyneth Paltrow fired off a condemnation salvo on behalf of all coalition

partners at the Chinada elite for stealth cognition technology development,

deployment and proliferation:

Performing ’15 Steps’ from ‘In Rainbows’, nominated tonight as album

of the year and accompanied by [Diaz M.] the U.S.C. Trojan Marching Band, the utterly brilliant ‘Radio Head’.

American mega-corporation Verizon Communications recently created an ad

that combined the elevator incident with the lab monkey metaphor and

added an uber-clever description of stealth cognition technologies as a

modern day Trojan Horse.

Verizon’s February '08 ad begins with an attractive woman leaving an elevator and beginning to use her cell phone. She exits and immediately points to a gorilla holding balloons.

1Today [Colbert M.] I plan

2 on working my phone without

3 worrying

about my bill. I plan on calling back Justin, Troy, Brad. [passes extra] Hey Brad!

4 Not Brad.

5

[Latifah M.] I plan on telling my brother what I really think about his girlfriend and telling everybody everything I've been holding back. This is going to be fun.

1 Extra wardrobed in prison certainty

2 Chinese woman in elevator

3 She points to gorilla

4 Brad in prison certainty & quantum

5 She identifies the Canadian lawyer, Brad, a coalition-identifying three times.

Not only was the intent to high profile the ‘elevator incident’ and the celebratory attitude the Canadian lawyer will have when free of his Dogville life and cashed up, attention was directed right at Prime Minister Trudeau, identifying him through his son Justin, who invited Beijing to militarize the country and which led to the Article 7 violating R&D. There was also a brilliant ancient war parallel – comparing the horse in the

Helen of Troy legend to stealth cognition technologies.

Samuel L. Jackson’s introduction of a performance included a double-handed

SNL Maneuver to “Making music together on stage at the Grammy’s for the

first time…”, generating an isolation-deprivation communiqué.

The speech delivered by the president of the Grammy association included a

very in-your-face China prison certainty reference. Included during it was a

photograph of an assemblage of musicians on the steps of the Capitol

Building in Washington. Smack dab in the front and middle of them all was

an Asian attired in black and white prison certainty. Audience observation of

a close-up of the photo was timed to “we will champion the passing of new

legislation to ensure that…” – seeking from the U.S. President and American

lawmakers protections necessary from what Chinada threatens them all

with.

Near the end of the 3½ show coalition partners scheduled a Target -

Christina Aguilera commercial produced in 2008 that was scripted with a

heavy emphasis on the Chinada color scheme and prison certainty pattern –

juxtaposed with a superhero character; intended to highlight the coalition

saving the world from the second onslaught of imperialistic authoritarianism.

View video

Academy of Country Music Awards Continues the American

Music Industry’s Geo-Politicization Tradition

The country music industry continued to demonstrate its tenacious resolve to help the coalition achieve its stated objectives. For its first award show of the year, the ACM executive made sure that the entire three hour broadcast was one big ‘you’re going to jail’ communiqué and full of specific messages that summed up confirmed they are behind whatever world leaders do to contain and neutralize the

Chinada threat and fundamentally reform the danger north of the 49th Parallel.

It was immediately apparent right from the beginning of the broadcast the

tradition of geo-politicizing award shows continued. The stage was a repeat

of the previous year – “prison is a certainty”. And note the groups of three

horizontal stripes to denote the coalition and the lower four horizontal

stripes to equal eight that identifies China:

The first performance involved the top stars of country music. Taylor Swift

was the first to combine her talents with Brooks & Dunn; and producers

filmed her with a China – condemnation background:

Reba McEntire hosted and wasted no time hitting the malfeasant right

between the eyes with a cattle branding iron. During her part intro – part

comedic monologue, where the backdrop behind her was comprised of

prison certainty and China, the Academy engaged in Canadian lawyer supra-

celebrity status maintenance, by stating:

Once again the Entertainer of the Year is being chosen by you, the viewers. We’ll give you all the voting information [O-S M.]…

An acknowledgement was made of Brad Paisley, who couldn’t attend

because his wife was expecting a child; and so he was beamed in by

satellite. To draw attention to that Brad and Canada’s Brad, the Grand Ole

Opry’s Little Jimmy Dickens chose a wardrobe (white hat, red jacket, vertical

striped shirt) that sent the message there is going to be prison en masse in

Canada.

After Kenney Chesney performed the camera was intentionally turned on

Nicole Kidman of Dogville fame, who was sitting next to her husband; who

were sitting next to Taylor Swift -- the intention being to underscore how the

next generation is being positioned to continue the fight against the global

expansion of authoritarianism.

Toby Keith chose a wardrobe that complimented the stage backdrop –

choosing a white hat with black stripe and red bandana: Canadian

punishment certainty.

Hollywood A-Lister Jamie Foxx, a coalition partner since February 2007, was

a presenter. He read a prepared script that contained another supra-status

maintenance initiative:

I’m such a fan of George [Straight]. Make some noise right now.

[audience applauds and cheers] [protracted Bl.M.] And I’m gonna be there when the Academy of Country Music honors him [O-S M.] in the artist of the decade [category].

The most involved geo-initiative from a planning perspective came

when Taylor Swift was introduced for her performance. Magician sensation

David Copperfield was called in. First he walked to his spot on the stage

where en route producers had arranged the colors of China and prison

certainty to be observed moments before an illusion that contained a most

powerful communiqué:

Taylor’s entry onto the stage high profiled the ‘elevator incident’. David

instructs a lift to descend from the ceiling. With a wave of his arms the thin

curtain on all four sides rise to reveal an empty compartment. Then he

waves his arms again to have them fall. Then again using his magical

powers of illusion he once again gestures. This time the silhouette of Taylor

slowly appears. When the elevator doors are motioned to open, there she is

smiling and waving. The genius is in the fact that there was no way she

could have been in the contraption; and yet there she was.

View video

To geo-politicize this amazing trick, producers arranged for a close-up of the

elevator’s antique floor indicator when it was at a China identifying eight.

Then when Taylor performed, the dominant hue of the stage lighting was the

lexiconic color for justice - drawing attention to the isolation-deprivation

theme.

When she finished ‘You’re Not Sorry’, Reba, now attired in bold quantum,

calls her over to present a surprise award for her achievements. The back-

drop was again prison certainty.

Miranda Lambert also geo-politicized her performance. Singing ‘Dead

Flowers’ she executes an Oprah-Taylor Maneuver when using that phrase,

creating the first instance of coercive diplomacy of the broadcast.

LeAnn Rimes received the Humanitarian Award and employed the lexicon to

draw attention to how much the country music industry is appreciative to

me for documenting and archiving its artists geo-political works.

Thank-you Home Depot for continuing to recognize the country community’s commitment and our work [Diaz M.] and thank-you ACM for honoring me with this award.

Miley Cyrus and Carrie Underwood appeared – and again the stage backdrop

was prison certainty:

Trace Adkins performed an emotionally moving tribute to the troops. The

link between coalition forces and prison for the Chinada complicit was

profoundly made.

A double amputee war vet introduced the song; and producers arranged for

a moving graphic behind him to contain prison certainty.

After the song ended the camera was pointed at celebrities in the front row.

When Kenny Chesney got the signal he was being filmed he executed an in-

your-face ‘gun to the temple’ Richie-Santelli Maneuver – the second instance

of coercive diplomacy during the broadcast.

The Best Album of the Year went to Taylor Swift. Both the nominee

presentation and her acceptance were geo-politicized - the script drawing

attention to the coalition and the recipient acknowledging quantum.

Reba: Well Blake, will you do the honors? Blake: You know I feel kind of stupid doin’ this. Reba’s been

kinda modest. She’s won 11 ACMs. Reba: 12. Open [the envelop].

[audience laughter]

Blake: And the winner for the album of the year is … Taylor

Swift.

[audience applause]

Taylor: I think a lot of people that know me know that if I talk

to you for more than five minutes I’m probably going to write a song about you.

Taylor has taken her commitment to the coalition very seriously and in

particular helping to rescue me from the authoritarian grip of psychopathic

pubescent perversion. She appeared on the orange carpet before the show

in the colors of Canada:

A third instance of Canadian lawyer supra-celebrity maintenance was

delivered during the presentation of the final award. Matthew Mcconaughey,

a coalition partner since May 2006, began with a short story:

Before I get on with this next presentation I got a little thank-you I gotta throw out. 1987, my brother and I left Longview Texas and took a short road trip to the Oil Palace in Tyler Texas to see this new, young, hot artist by the name of Dee-wight Yoakam [Cl.M.] While we were there we meet a couple of ladies that we’re tryin to pick up,

right.

[Powell-Cl.M.] The conversation comes round to what we do for a livin’, and so on cue my brother and I say “well, we have an excellent contract with George Straight”. […] The point of the story is we get lucky that night. Thank-you George.

[audience laughter & applause]

He drew attention to the fact that my life as an enslaved human

experimentation victim began when I got off the plane from law school in

1987 and that because the malfeasant spent twenty years violating Article 7

of the International Covenant on Civil & Political Rights for military and

imperialistic purposes and refused to capitulate to the demand to abandon

the R&D, their global hegemony attempt and decouple Canada from China’s

expanding sphere of control and influence, the coalition is going to ‘f _ _ k

‘em up good’.

The Country Music Television Awards: Geo-Politicized from

Beginning to End to Send Another Message That Prison is an Absolute Certainty

American award shows have been a consistent and loud geo-political stage since early 2008. The 2009 CMT Awards was no different. Broadcast live from Nashville on June 16th, the principals of the country music industry and producers of the 2½ hour production made it again as clear as possible that life or lengthy terms in prison will be assessed by the accountability tribunal against those who violated domestic and international law with reckless abandon, believed they

were invincible, insulate and immune forever and thumbed their nose for years at a trepidatious and ever-galvanized international community.

The coalition’s country music constituent really pushed the envelope of stage

design for this event. The creativity observed in its conceptualization of

prison certainty is almost beyond description in how many ways the pattern

was incorporated into the set: stage floor, backdrop, sides and even from

the ceiling.

In past documentations of the lexicon’s employment, photos have been part

of the archive. This time not one picture does justice to what producers

created. To observe the stage in its full geo-political glory, view the

performance by Taylor Swift (video).

The 2009 American Music Awards: Three Hours of Non-Stop

Diplomacy and That Many Hours Closer to Launching the Prison, Poverty and Perish Methodology of

Reform and Accountability

The entire American music industry proved one more time it’s tenacious resolve to achieving coalition objectives during its premier award ceremony on November 22, 2009.

Producers of the three-hour show turned the stage into a geo-platform as

has every award show since early 2008. The colors of Chinada and the

prison certainty communiqué were well represented throughout the event.

Two performances were very geo-politically loud:

Rihanna

[prison certainty]

Lady Gaga

[coalition identifier, prison certainty, quantum ratifier]

Coalition partners who attended chose attire that embedded the lexicon.

Nicole Kidman [w/ Keith Urban]

[prison certainty, condemnation, Dogville coercive diplomacy]

Reba McIntyre

[prison certainty]

Rascal Flatts

[prison certainty]

Melissa Etheridge [prison certainty]

Demi Lovato

[prison certainty]

Academy of Country Music Awards Continues the American

Music Industry’s Geo-Politicization Tradition

and

The ACMs Keep Condemnation for Chinada’s Occult Worship on the Geo-Political Front Burner

There was no doubt what the producers and participants of the 2010 ACMs on April 18th wanted to impress upon the Chinada malfeasant.

Not one, but two performances were scripted to embed condemnation for what lies at Canada’s core.

The American music tradition of geo-politicizing its award shows continued in

April 2010. What began in early 2007 was in full evidence as the stars and

movers and shakers of the country music industry assembled in Las Vegas

for its spring event.

As soon as the live three-hour broadcast began the communiqué that prison

for those linked to Chinese expansionism, maintaining Canada’s non-

transparent paradigm of authoritarian governance and beginning and

persisting with MK-Ultra R&D, deployment and global proliferation was

evident. The stage lit up like the 4th of July in the colors of the imperialistic

Asian dragon by an array of lighting that spelled out prison for life.

To acknowledge my value to the coalition by continuing the ratification of my

historic damages, the set was designed to incorporate two quantum ratifiers;

using an easily recognized symbol to articulate it - four vertical strokes and

one at an angle.

Throughout the telecast those who took the stage or were filmed in the

audience employed the gesturing constituent of the lexicon to turn their

remarks into Gatling-gun ammunition.

The veteran duo of Brooks & Dunn, who had recently announced their break-

up after twenty years in the business, used their spotlight to geo-advantage;

which sought to convey their and the industry’s gratitude to coalition

partners for their tenacious resolve and achievements to date in pursuing

the democracy agenda.

Award presenter Matthew Mcconaughey, who contributed to the 2009 event,

said the following which falls in the isolation-deprivation (love, marriage,

family) category of diplomacy:

[During ACM week in Las Vegas] we heard some great country music. After the show [Pfeiffer M.] last year my lady and I, Camilla – we went back to the hotel and conceived a little lady who is now our daughter.

What producers also had in mind for the overall theme of the show started

to become evident upon the conclusion of Taylor Swift’s performance. There

was huge significance to her choosing the Geo Award winning song ‘Change’,

written to articulate the coalition’s commitment to fundamental reform

of Canada and her dedication to ensuring I enjoy a life of normalcy after two

decades of enslaving human experimentation, torture and deprivation of all

kinds. Not only was the delivery breathtaking, the ending was scripted to

condemn what lies at the country's eco-political core. As she finished, she

turns her back to the audience and falls into awaiting arms. As she did so

she raises her arms to turn her entire body into the cross – symbolic of the

crucifixion.

View video

Corroboration that the show was about that geo-subject came when Brad

Paisley took the stage for his performance. Again, it wasn’t until its

conclusion that the diplomacy was evident. Three-quarters through he left

the stage and walked through the crowd to a stage in the middle of the

auditorium. The audience discovers when the top is removed there’s a hot

tub sized pool of water; which the man in the industry who’s come to

represent me (both share the first name ‘Brad’) falls into – arms raised to

also turn his body into the cross.

As he plunges into the water the image of him being baptized was delivered

– an uber-clever way of describing how I’m in the process of being ‘reborn’

into a modern civilization that hitherto had betrayed him.

View video

Producers arrange for the colors of China prison certainty to be present as

cameras switch from the pool to the stage where the evening’s host, Reba

McIntyre, continues with her duties.

And, the last geo-contribution of the show involves her last wardrobe change

of the event – quantum as the final award was about to be presented.

Producers also designed a series of graphics that embed the lexicon. They

arranged to have eight nominees this year for the most coveted prize of the

event, ‘Entertainer of the Year’, instead of what was conventional in the

past. And they arranged for ‘Brad’ Paisley to be number three –

representative of my significance in the global community of democracy, rule

of law and human rights advocates. And 2009 Partner of the Year Taylor

Swift was five because she’s come to represent what the organization

stands for and, additionally, the kinds of making-up-for-lost-time benefits

that comes with working collaboratively with and competently for the

coalition.

Additionally, producers insert count-downs to specific moments in the show

as the broadcast goes to commercial. Most of them are scripted to include

lexiconically significant numbers. Sometimes they place coalition partners in

lexiconic positions on the list. And a few times they combined two graphics

numbers to create another lexiconic number (3+10=13); (4+16=20).

And the final graphic at the end of the show is for ‘Entertainer of the Year’.

It indicates that the award is going to be delivered in 13 minutes – both a

Taylor Identifier and a reference to who producers viewed as entitled to that

most coveted honor given what she’d done to advance the coalition’s

agenda.

The pre-show star walk, the ‘Orange Carpet’, was also geo-politicized.

Nicole Kidman arrived with her husband, Keith Urban, in an outfit that

accentuated her historic importance to the coalition; choosing prison

certainty to juxtapose it with what she’s come to represent since ‘Dogville’ –

lethal military force and capital punishment.

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