I AM Present

I AM Present
DESTINY IS A CHOICE
It's here! The ascension times are upon us. And both a simple and complex choice is at hand for us all.

We can choose Love or Fear.
If we choose Love, we also commit to loving ourselves, owning all of us in the process. Without this energetic shift within, we cannot fully shine as co-creative human masters and walk free in our sovereignty. This is also a prerequisite for 5th Dimensional living.
If we choose Fear, we remain in the cosy confines of the 3 rd Dimensional matrix. Here we don't need to confront our shadow selves or take responsibility for all of us. This choice naturally means we will also need to wait for the next cycle of ascension opportunity to come around again for us.
Ascending in physical form isn't a given. And an intellectual or emotional desire alone won't take you there.
Subsequently 'heaven' and 'hell' are both states of being right here on earth, manifesting through our very own consciousness choices.
And because of current collapsing timelines all is unfolding in greater polarity right now.

What are you choosing...?


ABOUT THIS BLOG:
Expanding our consciousness to make the leap into the 5th Dimension is an energetic one. My experiences and path of personal growth have shown the many boulders on the road to success. Fact is, it's difficult to accept and integrate truth within, if you're not aware of the subtle forces that oppose it and the Light. Ones which subsequently block us from choosing our highest possible lives/outcomes. And most often, without our conscious awareness or consent.
Therefore, some of the related components I'll be exploring will include: understanding our slave mentality and how to break free; our galactic connection to both STO (service to other) extra-terrestrials and STS (service to self) ET's; the ongoing psy-ops programming by the Illuminati to keep us at war with self and each other; how lower thought form entities feed off our power, keeping us fragmented; our Inner Earth family and the Lemurian/Atlantean connection; relationship mirrors to Shadow/Inner Child healing on the road to wholeness.
All this ties in with the coming revelations to be disclosed to humanity - who we really are, where we came from and where we're going...

In magic, madness and mystery!
Shellee-Kim

Tuesday, March 26, 2013

More Musical Deceptions Revealed - James Damiano Vs Bob Dylan

Hello readers!

I know I should be tougher by now, but I read this with a badly-sinking heart, having only just discovered it. Although not new news, it is for me.

Having really enjoyed Bob Dylan's musical contributions in the past, it came as a greater shock to discover some of my much-loved tunes of his, were not his at all! Like A Rolling Stone, Blowing In The Wind and Knockin' On Heaven's Door, amongst many others constituted part of my personal identity, growing up in the 70's and 80's.
These and many, many others were and are purportedly the property of one writer and musician, James Damiano. Evidence in Damiano's favour is overwhelming. And for which Damiano has been fighting years for the public acknowledgement of, not to mention the $ billions in payment for out-and-out plagiarism of his work. And Joni Mitchell's public outing of Dylan in 2010 calling him a 'fake', 'plagiarist' and 'deceiver' only reinforced all of this.

So discovering and deciding that Bob Dylan must now be added to my boycott list of many past musical heroes/heroines that made their respective pacts with the corporate music devils in exchange for fame and fortune, was a major blow to the guts; I still feel physically ill about it.

While the story at the link below has been and continues to be completely censored by the mainstream media press-titutes, the irony that gives the story extra credibility (not that it needs it when you research all the evidence) is this on:

http://www.jamesdamiano.yolasite.com/

This website is hardcore proof that Mainstream Media has censored your news this website has been viewed by Reuters, Bloomberg Media, Spin Magazine, Georgia Board of Regents, The Center for Public Integrity, Rolling Stone, The New York Times, The New York Daily News, The Washington Post, Disney Network, Fox Media, Turner Broadcasting Network, Yale, Harvard, Columbia and Columbia Law School, UCLA and UCLA Law School, Oxford University, Rutgers University, The New Jersey Law Journal, and The EOP.gov Executive Office of the President "The White House". It has also been viewed by over 750 thousand attorneys.

I'm still reeling a bit - like I did when I discovered others of my old faves - Led Zeppelin, The Eagles and The Doors amongst others - had also long since sold themselves out. And the fact that Joni Mitchell herself endorsed this deception in 2010 gives James Damiano's case extra weight.

But again, the overwhelming evidence that Damiano has produced alone doesn't need it. While Dylan has the collective power of lying lawyers, including Orin Snyder, behind him, the censoring mainstream media and the controlled and controlling global corporate music industry moguls all in support of his great deception and the continued coverup.

Well, no more...
And so it is in every area of humanity's endeavours that layer upon layer of deception must be revealed and accepted to make way for the Truth of things. Let it fall fast and thick for our accelerated awakening.

In the meanwhile, I'll be spreading the word as far as I possibly can where appropriate and relevant and never be knocking on this particular door for musical inspiration ever again!






In magic,madness and mystery
Shellee-Kim

********

"Bob Dylan's Stealing of James Damiano's Songs"



In a Los Angeles Times Interview Bob Dylan admitted to plagiarizing a great percentage of his songs including "Blowin' In The Wind", "The Times They Are A Changin'" "Hard Rain's Gonna Fall" and more

“Well you have to understand that I’m not a melodist. My songs are either based on old Protestant hymns or Carter Family songs or variations of the blues form. What happens is, I’ll take a song and simply start playing it in my head. That’s the way I meditate". “I wrote ‘Blowin’ in the Wind’ in 10 minutes, just put words to an old spiritual, probably something I learned from Carter Family records. That’s the folk music tradition – you use what has been handed down. ‘The Times They Are A-Changing’ is probably from an old Scottish folk Song.”...."I'll be playing Bob Nolan's 'Tumbling Tumbleweeds,' for instance, in my head constantly -- while I'm driving a car or talking to a person or sitting around or whatever. People will think they are talking to me and I'm talking back, but I'm not. I'm listening to the song in my head. At a certain point, some of the words will change and I'll start writing a song.".......Bob Dylan

Bob Dylan's Stealing of James Damiano's Songs



Image: James Damiano

No artist can lay claim to the controversy that has surrounded the career of songwriter James Damiano. Thirty two years ago James Damiano began an odyssey that led him into a legal maelstrom with Bob Dylan that, to this day, fascinates the greatest of intellectual minds.

Since auditioning for the legendary CBS Record producer John Hammond, Sr., who influenced the careers of music industry icons Charlie Christian, Billy Holiday, Bob Dylan, Pete Seger, Bruce Springsteen and Stevie Ray Vaughan , James has engaged in a half a billion dollar copyright infringement law suit with Bob Dylan.

As the curtain rises on the stage of deceit we learn that CBS / Sony international recording artist, Bob Dylan not only used songs and lyrics written by James Damiano but also solicited Mr. Damiano's materials for a period of over ten years and eleven months.

As per Judicial filings Bob Dylan's name is credited to the songs. One of those songs is nominated for a Grammy as the best rock song of the year. Ironically the title of that song is Dignity.



FOLK LIES: Joni Mitchell Outs Bob Dylan by Jonny Whiteside

“Bob [Dylan] is not authentic at all. He’s a plagiarist, and his name and voice are fake. Everything about Bob is a deception. We are like night and day, he and I.” — Joni Mitchell, Los Angeles Times, April 22, 2010

Caterwauling Canuck “folk singer” Joni Mitchell got just about everybody riled up with that sweet morsel of self-serving insight, but the real shock is not that Mitchell is absolutely correct but that someone finally came out and said it. After decades of carefully manicured deification by Columbia Records, brain-dead rock critics and the slimy elite institution that elevated such barely able snake-oil salesmen as Woody Guthrie and Pete Seeger to celestial heights, it’s high time to flout indoctrination and examine Dylan’s track record as a Grade-A phony.


Most Dylan fans would be stunned to realize that his vocal style (for lack of a better term) was high-jacked, in its entirety, from long-dead bluegrass-country singer Carter Stanley. We’re not talking about an influence, like Lefty Frizzell for Merle Haggard, but a total appropriation of Stanley’s highly idiosyncratic approach. A counterfeit from the get-go, once Dylan realized what an advantage his audience’s innate ignorance was, he’s exploited it ever since.

Just type “Bob Dylan plagiarism” into your friendly search engine, and a plethora of questionable circumstances pop up, enrobing the singer almost as completely as his years of reflexive media fawning have. Documented from his teenage start, when he submitted a hand written, thinly revised version of country star Hank Snow’s “Little Buddy” for publication as an original poem, to his 1963 pilferage of Irish poet Dominic Behan’s “Patriot Game”’s melody for the similarly slanted Dylan tune “With God on Our Side” to songwriter James Damiano’s ongoing multimillion dollar copyright infringement suit (alleging Dylan’s Grammy-nominated “Dignity” is nothing but an altered version of Damiano’s “Steel Guitars”) to the naked “Red Sails in the Sunset” melody heist for the song “Beyond The Horizon” on his Modern Times album, up through the recent Confessions of a Yakuza-Love & Theft plagiarism charges (Love & Theft? Calling Dr. Freud!), the Timrod controversy, even the numerous passages of Proust and Jack London that (re) appear in the text of Dylan’s autobiography, it’s a deep, dark thicket of thoroughly damning and apparently chronic bootlegging. Naturally, Dylan has said nothing publicly about any of these, but he already spent over three million dollars defending himself against one-time affiliate Damiano–the classic delay-to-destroy court room technique.


The following music score was prepared by Dr. Paul Greene who graduated Magna Cum Laude From Harvard. Dr. Greene in his audio version of the comparison states that James Damiano's Songs "Steel Guitars" which was copyrighted in 1982 share an "Exact Melodic Arc" of Bob Dylan's Grammy nominated "Dignity" which was copyrighted with the Library of Congress in December of 1994.



Defenders and apologist have an extraordinary array of excuses on Zim’s behalf, from use of “literary allusion” to his building a “cultural collage,” or that his “borrowing” is “homage,” to the more deliciously desperate “he obviously doesn’t NEED to do it” (strangely, though, he always has). This instamatic, Clinton-ian excuse making serves only to further polish up the shine on Dylan’s teflon hubris and to underscore the blind, Pavlovian worship which he has long enjoyed. Let’s face it: as a lyricist, Dylan is crap, inarguably unworthy beside, say, Hank Cochran, Chuck Berry, Mickey Newbury or Jimi Hendrix (”All Along the Watchtower” plays as a lead balloon even for Hendrix, nearly deflating his Electric Ladyland masterpiece).

While we’re endlessly told that “The pump don’t work / cause the vandals took the handle” is vintage Dylan worthy of class room study, in truth it’s little more than the wordy spew of a peripatetic rhyming dictionary who’ll hang any phrase together as long as it fits. Metaphor is convenience, not expression for Dylan. His songs have also treated women quite badly: the entire attitude of “It Ain‘t Me, Babe“ is ugly; “Just Like a Woman” is nothing short of misogynistic, but, worst of all, Dylan’s sheer verbosity has ineradicably stained American pop music, and we’ve all had to suffer through the post-Dylan legacy of long-winded nonsense (“American Pie,” anyone?).


The real tragedy is that none of these very well-documented and nigh irrefutable plagiarism charges will ever emerge from the shadows, as the Cult of Zimmerman’s hulking form casts a very, very long one. Even when the Hank Snow rip-off stared the world in its face, the strongest reaction was a nervous giggle and murmurs of youthful indiscretion. To capitulate the carefully constructed myth of folk music and Dylan’s subsequent installation as rock & roll’s poet laureate is unthinkable, a hot, hit-the-panic-button nightmare for generations of quiescent “hipsters“ never weaned from the million-selling Dylan teat. His socio-cultural mystique is also an industry-manufactured sham, one that very handily diverted attention away from genuine political stink-stirrers like the MC5 or the lysergic guerilla warfare of the 13th Floor Elevators.

As a junta-backed counter-culture figurehead, Dylan is ideal: a harmless, unoriginal patsy, a cute insouciant whose relentlessly self-involved stance never threatened anyone, save for the hazard of the droning lip service endlessly paid him. We should all praise Joni Mitchell for this overdue call-out (just don‘t ask us to listen to her records), but it’s unlikely that any in the Zim Cult will even consider the ramifications of her statement. But when you pile it up with all the rest, there’s a single conclusion to be made: Bob Dylan is an artistic (and ethical) fraud, one whose own fear of creativity has long since given way to an apparently lifelong practice of emulating his superiors by vampirism, siphoning off their intellectual blood and using it to top off his own under-baked efforts. Weirdly, even then, the results have been scarcely palatable.


It is judiciall and publicly uncontested by Bob Dylan and Bob Dylan's law firms Manatt, Phelps & Phillips, Parcher Hayes & Snyder, Gibson Dunn & Crutcher, Hecker Brown & Sherry and a few other Dylan law Firm including Orin Snyder, Robert Church, Steven Kramer, Mary Jo White, Steven Hayes, Jonathan Liebman, and Sony House counsel that Bob Dylan and people in Bob Dylan's entourage have solicited James Damiano's songs and music for a period of over ten years and eleven months.

Bob Dylan Admits to Plagiarizing His Greatest Hits

“Well you have to understand that I’m not a melodist. My songs are either based on old Protestant hymns or Carter Family songs or variations of the blues form. What happens is, I’ll take a song and simply start playing it in my head. That’s the way I meditate". “I wrote ‘Blowin’ in the Wind’ in 10 minutes, just put words to an old spiritual, probably something I learned from Carter Family records. That’s the folk music tradition – you use what has been handed down. ‘The Times They Are A-Changing’ is probably from an old Scottish folk Song.”...."I'll be playing Bob Nolan's 'Tumbling Tumbleweeds,' for instance, in my head constantly -- while I'm driving a car or talking to a person or sitting around or whatever. People will think they are talking to me and I'm talking back, but I'm not. I'm listening to the song in my head. At a certain point, some of the words will change and I'll start writing a song.".......Bob Dylan


The Stealing of James Damiano's Songs by Bob Dylan

The Missing link to all other Bob Dylan

Plagiarisms including

"Blowin In The Wind" "Shelter From The Storm" and "Knockin On Heavens Door"

http://www.jamesdamiano.yolasite.com/

0 comments: