We came across Donald Marshall’s online posts in late 2011, detailing his first-hand accounts with a powerful global organization known as the Illuminati.

He describes their secret involvement in such criminal acts as murder, kidnapping, torture, rape, child abuse and child exploitation.

As a victim himself of the Illuminati, Marshall details his own experiences of torture, kidnapping and abuse at the hands of this large global conspiracy, reaching shocking levels of depravity.

Marshall exposes many major Illuminati political players such as Queen Elizabeth, her husband Philip, Duke of Edinburgh, Prince Charles and Russian President Vladimir Putin.

He also names many other world leaders, politicians and famous celebrities secretly involved.

Many of Marshall’s claims can be substantiated by events catalogued by public and private organizations, such as Child Abuse Recovery, a division of Trauma Research Center, Inc. and the International Common Law Court of Justice in Brussels, which found Queen Elizabeth and her husband, Prince Philip guilty in the disappearance of ten native children from the Kamloops Indian Residential School in British Columbia on October 10th, 1964.

Donald Marshall Revolution is an unofficial and unauthorized website created to help spread information about critical issues of global public interest and concern.</p >

So begins the accounts of former Illuminati insider turned whistleblower Donald Marshall who, in late 2011, published an online expose detailing his eyewitness reports of the crimes committed against innocent citizens that, he claims, take place nightly in deep underground military bases around the world.

Conspiracy theorists have long contended that major world events are under the direction of a powerful global coalition of wealthy secret societies known collectively as The Illuminati.

They hold that this shadow government has been orchestrating world events for many years, long promoting a hidden agenda, which includes the ultimate control of all areas of society from banking, business, politics, military, education, religion, medicine, media and entertainment.

Donald Marshall has risked his life to speak out about this select group of individuals who, he says, maintains world control without the majority of the public made even aware.

He says that their vast member base includes royal bloodlines, prominent wealthy families, influential members of finance, banking, media and entertainment, as well as religious leaders and politicians, all of whom agree to join and participate within the organization.

He explains that while members within this elite club enjoy access to unlimited opportunities, in exchange, they must agree to participate in secret meetings, held nightly in deep, underground military bases on highly restricted property. There they utilize top-secret cloning technology to meet as clones during their dream state, to discuss and plan future events, while the rest of us sleep.

Sound impossible?

Not so, says Marshall, who states that the practice of human cloning is far from new, and maintains that covert experiments in genetic engineering have been conducted by Illuminati scientists for many decades.

He explains that beginning in the 1940’s, human cloning technology was used as a way for world leaders to meet in secret in order to plan and discuss future events.

Over time, however, they got bored and began to clone others and bring them to the cloning center, as well. Famous movie stars, artists, musicians, and celebrated sports figures, were all cloned and personally delivered to the Illuminati, in order to indulge their every fantasy.

Marshall says that in time, this slowly degraded as members began showing off for the rest, resulting in committing shocking acts of depravity, including crimes such as murder, kidnapping, torture, rape, child abuse and child exploitation.

Marshall claims to have witnessed numerous crimes committed by many members of the Illuminati since early childhood as an unwilling participant in many covert government projects.

He states that he remembers attending these secret meetings as a child as young as 5 years old.

However, while Marshall can relate in detail the events that took place at the cloning center every night, he reports that he could never remember how he got there and, at the time, believed that he had been kidnapped during his sleep.

Marshall says that he had no understanding of a top-secret technology known as R.E.M-Driven Consciousness Transfer which is used to transfer one’s individual consciousness during the natural REM cycle of sleep into an identical clone located at a cloning center many miles away.

Marshall explains that when he goes to bed at night, his consciousness is stolen while he sleeps and is held hostage until his real body wakes up. He maintains that this consciousness transfer happens almost every night, even though his real body never leaves the room, and continues to sleep through the night.

Once his real body eventually wakes up, however, his clone body drops limp. Marshall says that all goes black and, as he wakes up, his consciousness quickly returns to his real body.

Marshall claims that this transfer can only take place once the brain has fully entered the REM sleep cycle. Once you begin to dream, he says, they can steal your consciousness and bring you wherever they want.

As Marshall reports, “I go to sleep at night, [at home in Eastern Canada] and an hour later, I open my eyes to find myself, naked, on a stainless steel rack, at a cloning center hundreds of miles away.” While he says he doesn’t know the exact location, Marshall surmises the center is built underground on highly restricted property in Western Canada.

Disoriented at first, Marshall says he finds himself lying in a room filled with computers, one nearby is monitoring his brain wave patterns.

Marshall explains that a green light on a control panel will light up to indicate when the subject has entered REM sleep. Then, he says, “workers there just push a button and you open your eyes, in the clone zone”.

This is the way large numbers of Illuminati members meet every night in complete secrecy, with no chance of discovery.

Marshall claims that when one considers that there are many thousands of Illuminati members being activated in deep, underground military bases around the clock, in different time zones all over the world, that the level of organization involved is staggering.

Marshall is often asked how he came to be selected to participate in these top-secret government programs, especially at such a young age.

According to Marshall, his childhood was “normal enough”, as he grew up, living with his mother, step-father and three brothers in the harbor city of Halifax, Nova Scotia, on the Atlantic coast of Canada.

Smart, athletic and popular, Marshall excelled at both sports and academics in school. After graduation, he found success working in building and construction.

“Life was good,” says Marshall, until the day shortly after his 30th birthday.

Marshall explains that he was living in Dartmouth at the time, right across the bay from the city of Halifax. He remembers opening his eyes one night to find his roommate standing over him.

“Come with me,” he said.

As Marshall started to get up, he discovered that he was not sleeping in his bed, but was resting on a narrow cot.

Looking around, he noticed that he wasn’t in his bedroom, but was instead inside a small, dark room with thick concrete walls, empty except for the cot.

“What’s going on?” Marshall wanted to know.

“Just come on,” his roommate replied.

Silently, Marshall followed him out of the room and down a corridor that opened onto a wide concourse. As he looked around, Marshall realized that he was inside some type of large indoor sports stadium, although he had no idea how he had gotten there.

I thought I had been kidnapped, Marshall remembers.

As he got closer to the main gate, his roommate stepped aside, and Marshall entered the brightly lit arena alone.

Looking around, Marshall saw that he was surrounded by crowds. He quickly scanned the faces of those sitting in the dark, all watching, all waiting…

Loud music began to crank through loud speakers as he began to walk toward the center of the arena. Marshall immediately recognized Guns N’ Roses’ 1987 heavy metal classic Welcome to the Jungle as it played over the stadium sound system.

I am so dead, Marshall thought, as he sensed a silent threat from those gathered, as if all had arrived here to witness some sort of blood sport, with his murder served as their entertainment.

Well, he thought to himself, if they think I’m going to cry and beg for my life, screw it…

Marshall figured that if he wasn’t going to get out of there alive anyway, he might as well give them what they came for…

Showing off his rock star moves, Marshall began jumping, thrashing, grinding, and head-banging, as he shredded the strings of his air guitar, screaming: Welcome to the Jungle…We’ve got fun ‘n’ games…We got everything you want…honey, we know the names…

As soon as he began to sing, though, the music abruptly stopped.

“You remember, don’t you?”  someone called out.

“I remember nothing. Where am I?”

“You don’t remember anything?”

“No, I don’t,” Marshall said, “I don’t know why I’m here. You must have me confused with someone else. Look,” he said, “if you’re going to kill me, just do it and get on with it. I’ve seen your faces. I’m not getting out of here…”

“You’re not going to die,” they answered, “You’re just going to wake up back in your bed.”

“Then, if I’m not going to die,” he said, “I want to go now.”

Marshall says that next they told him that he was very special, and then all went black.

When he opened his eyes, Marshall found himself back in bed, with his heart pounding and mind racing.

What was that? he thought. Had he just been dreaming? It had felt too real to be a dream, but if it wasn’t a dream…what was it?

What Marshall didn’t know was that he was not in his real body while at the cloning center, but was activating an identical clone. He would come to learn that he had not been kidnapped or abducted at all, in fact, his real body never left and was still sleeping in his bed back home. He would later find out that while there, he was in temporary use of an identical clone body that feels, according to Marshall, as real as real.

What’s more, those he met at the cloning center weren’t in their real bodies either. They were also activating clones as well and actually lived all over the world.

At first, he didn’t tell anyone, but in time Marshall decided to share his “dream” with a few friends. While they didn’t know what to think, they all believed him, for Marshall was known to tell the truth. It was clear that something was happening to him, but no one knew exactly what.

Marshall says that over the next several weeks, he began to remember more. He became aware of the many different times he had been there before, from early childhood on. Although, he didn’t know where “there” was, he began to wonder if he was being brought to another dimension of time or an alternate reality.

Marshall decided to move back to Halifax and stay with a buddy, although by now some friends had begun to distance themselves, afraid that whatever was happening to him, would start happening to them next.

“I knew it wasn’t a dream. It was something else,” remembers Marshall. “It was too real to be a dream. But then, I thought that maybe it just seemed real to me because I was losing my mind. Maybe I was going crazy.”

And for the first time in his life, Marshall would realize just why he could never seem to remember his dreams…because he never had any.

As more memories returned, Marshall says he would jolt awake at night with searing chest pain, his heart gripped in spasms as his body re-experienced the trauma from the events that took place there. It was always the same place, he recalled, the same big sports arena filled with crowds watching, as different people hurt him, in different ways.

He remembers that he would wake in crushing pain, with his heart pounding and body shaking, trying to breathe as new memories began to surface. He worried that one day his heart would fail and he wouldn’t make it. He decided that he had to do something to shut this place down, whatever it was, wherever it was, this just had to stop.

Marshall decided to start with the police. One morning, he went to police headquarters in Downtown Halifax, in order to make a public report.

He tried to explain to the officers that when he goes to sleep at night, he pops up in this other dimension, that there were lots of other people there, too, doing terrible things to others and that something has got to be done about it. Marshall said the police just told him to go home, suggesting though, that he might want to go to the ER to get himself checked out by a doctor.

From there, Marshall contacted Canadian Intelligence, and visited the regional headquarters for the CSIS, located downtown.

Marshall says he approached the two officers in charge, telling them that he had to tell them something and began again, saying that when he goes to sleep at night, somehow he is taken to another dimension or something, where the people there hurt him, and hurt others, and that this needs to be investigated and stopped.

“You want me to police another dimension…?” the officer replied.

Then, Marshall says, two psychologists, both female, stepped out from a nearby office.

They introduced themselves and said they wanted to talk to him.

At first, they expressed concern for him and began to ask him many questions about his dreams. Could he describe his thoughts and feelings about them?

Next, they encouraged Marshall to check himself into a psychiatric ward right away for a full evaluation in order to get help with these disturbing dreams.

Instead, he walked out, his mind racing.

Somehow they knew that I was coming, Marshall thought. He surmised that they planned on getting him locked up in some mental ward, so they can dispose of him later.

Where would he go now?  he wondered.

That night, when Marshall fell sleep, he opened his eyes to find himself back at the same arena, standing in the center of the dirt pit, with a full crowd in attendance.

Two men approached him and immediately began taking turns punching him, laughing and showing off for all those watching. Marshall said they looked exactly like the two CSIS officers he had met earlier that day.

Marshall says that he was somehow disabled and unable to move, fight back or even block their blows. They continued to pound and kick Marshall, until he fell in the dirt, bloody and broken.

“Don’t contact us again,” they warned him.

“Oh, I’m going to tell everybody about this place,” Marshall answered.

Then all went black and Marshall woke up to find himself back in bed, his head swirling with questions.

What was going on here?  How could he report this to the police, when the police are there, too? They are the police…

Just how far does this go anyway?

Frantic, he made a 3:00 AM telephone call to his father.

“Dad, help me,” Marshall said, “I’m trapped in some weird zone, some other dimension or something. I don’t know what’s going on. People are hurting me there…I think my heart is going to blow up.”

“I know what you’re talking about,” his father replied, “I know all about it, but I can’t talk about it,” and hung up.

Marshall was left on his own with more questions than answers. What do I do now? Where can I go for help?

As more memories returned, Marshall says he realized that he wasn’t in another dimension or on the astral plane, in fact, there was nothing at all spiritual about his experiences. He realized that he was just a victim of real people “messing with tech”.

Marshall claims that he is often asked to explain how the consciousness transfer works, to which he answers that he doesn’t know how it works, although he imagines that there must be some way to block it.

He once tried setting his alarm to go off at short intervals to wake him throughout the night, hoping to prevent REM sleep. Eventually, however, Marshall found that he still fell deeply asleep.

He has even tried to stay awake as long as possible which, Marshall says, only works for several days before the body just shuts down. In that case, he claims he’s then stuck at the cloning center even longer, while his body catches up on the lost hours of sleep.

Marshall says that he has experimented by going to bed after taking alcohol or prescription medication, hoping that it might interfere with the consciousness transfer.

Marshall reports, however, that he was still brought to the cloning center anyway, feeling drugged or drunk, even though, strangely enough, the clone never consumed any drugs or alcohol.

Once, Marshall even fashioned a hat out of tin foil, and wore it to sleep. He says he got hopeful after several days with no activation at the cloning center. However, later Marshall opened his eyes to find himself stuck there again, trapped in the clone zone, with all those in attendance enjoying a big laugh at his disappointment. They told him there was no way to block the transfer and that it was hopeless to even try.

Some have asked Marshall why he can’t just move somewhere far away, to which he explains that moving would be of no use as there is no distance limit to prevent the consciousness transfer. He says they have told him at the cloning center that they will find him wherever he goes. Marshall claims that he could even move to Antarctica and they’d still activate him and bring him to the cloning center.

Others have suggested that Marshall try prayer as a means to ask God for help. He says he tried praying many times as a kid stuck there, desperate to find a way out.

They would just laugh, and then hurt him more, asking, “Where’s your god now, Don?  Where he at?”

Some say that Marshall is just dreaming and that the experiences he describes are simply vivid dreams.

Marshall replies that what he experiences at the cloning center feel nothing like a dream; the details are as clear as real-life experiences, and time passes as slowly as time passes in real life. What’s more, when you wake up, it’s not like remembering a dream, he says, but more like remembering the events from the previous day.

“They’re not dreams,” says Marshall, “I wish they were…”

Hard to believe?

Can one have years of experiences stored within the brain, with virtually no memory of them?

Two recently published scientific studies show that memories can indeed be blocked and even completely erased from conscious memory.

The October 2014 issue of the journal Neutron published a study conducted by researchers at the UC Davis Center of Neuroscience and Department of Psychology where light was effectively used to track the specific nerve cells in the cortex and hippocampus that were activated in learning and memory retrieval and switch them off with light directed through a fiber-optic cable.

Known as Optogenetics, researchers were able to use this new technique to test a long-standing theory concerning how memories are formed and stored within the brain.

Neuroscientists have long believed that learning is processed within the cerebral cortex of the brain, but retrieved again through the hippocampus.

This small structure deep within the brain reproduces the memory upon retrieval, allowing for the event to be re-experienced again, and remembered. In cases where the hippocampus is damaged, researchers say, patients lose decades of memories, still stored within the brain, with no way to access them.

Drs. Tanaka and Wiltgen demonstrated this by placing mice in a cage where they received a mild electric shock. Then, by switching off specific nerve cells in the hippocampus, the mice lost all memory of the unpleasant event and, when returned to the same cage, did not demonstrate any typical freeze or fear response, but instead nosed around the cage, eager to explore their new environment.

Another test published in the March 2016 issue of the scientific journal, Nature, set out to study not only how to block unpleasant memories stored within the brain, but also how to effectively erase them completely.

Dr. Cornelius Gross, of the European Molecular Biology Laboratory in Italy, led a research team to study the way the brain erases memories as it creates new ones.

Gross’ team first monitored the strength of the synapses within the brains of mice during different behaviors.

Then, through the use of drugs, they blocked those same synapses.

A rapid loss of strength was found within the synapses, Gross reports, in that “it seems that within a day – a half hour even – [the mice] were losing everything they’d learned during the week.”

Dr. Gross hypothesized that blocking the synapses would be like “clamping a hose”, in that the memories would still be there, but would no longer be accessible.

And in time, as the synapses lost strength, those memories could be erased, completely.

Is it possible that the Illuminati have the technology to select which memories one is allowed to remember and which memories one will forget?

According to Marshall, elite scientists have been manipulating memory for decades, and have the ability to turn on and off access to a memory with just the “push of a button”.

In this way, he claims that this top-secret technology allows them complete control of the brain, in that they can decide who remembers, what they remember and who never will.

Marshall claims that Illuminati members have always had access to top-secret science and technology that are years beyond what is officially released to the public.

Marshall maintains that this tech was perfected many decades ago, and has been utilized since to bring many to the cloning center for a variety of reasons.

He says some are brought to be interrogated for passwords and professional secrets, while others are brought for to be tested to see whether they would make loyal Illuminati members.

Some are simply brought to be used and abused for sport, which presents a disturbing thought as to just how many of the public have been transferred there in their sleep with no conscious memory?

If this is true, it would explain why Marshall was unable to access any memory of attending the cloning center for years, until the elite decided it was time to mechanically release these memories to his present consciousness.

Marshall says that he was allowed to remember at the age of 30. Over the course of several months, he was able to put together some of the missing pieces, although, he says it took years to understand the full extent of the technology involved.

With his memories returning, Marshall says that he began to remember more about his double life, as an unwilling participant in top-secret scientific experiments held at the cloning center.

He says that he began to recognize many of his family members there, and would sometimes see them sitting in the stands, with some participating, others just watching. He recognized his mother, brothers, step-father and his step-father’s family, all there.

Marshall realized that his entire extended family was involved and that they all played a part in this, but at first, wasn’t sure how.

In conversations with them there, however, his family seemed completely aware, in that, they were not memory suppressed about the time they spent there. They remembered what happened every time they were there, and would remember again when they woke up. It seemed that he was the only one, Marshall realized, that could not remember.

He says that later he would learn the truth about his family, and the deep ties they had to the Illuminati that went back generations.

Although, appearing to others as “regular people with regular jobs”, they were secretly in service to this dark organization, as ground-level members, always eager to improve their standing there.

What’s more, Marshall would learn that his mother had actually sold him to the Illuminati, at the age of 5, to be used, abused and discarded in time. He became what is known there as a slave, one with no human rights, no hope of freedom, forever trapped in a high-tech hell with virtually no way out.

Marshall explains that this is one way to gain full membership within the organization. If a parent selects a child to sell, to be used in any way they see fit, in exchange, the entire family benefits in terms of opportunities and favors granted from the other Illuminati members.

While the rest of the family will attend cloning during their dream state, and watch the nightly atrocities inflicted upon the sacrificed child, the victim himself will remain memory suppressed and will not remember the perversity that takes place there.

Children are always in high demand there, Marshall tells us, and like him, most remain memory suppressed about how they spend their hours of sleep. Once they reach adulthood, however, the Illuminati can decide whether or not to unsuppress them and release their locked memories to conscious recall.

Marshall says that if they can be useful to the organization, the Illuminati will memory unsuppress them and select them to hold key positions in law enforcement, local government, etc., where they can assist in any cover-ups and help to maintain secrecy and safety for all members involved.

If, however, these victims are not useful in any way, the Illuminati can choose to leave them memory suppressed forever. That way, they will never remember and usually end up as damaged, addicted adults with unexplained fears and phobias. Marshall says some don’t make it and end up killing themselves instead.

Marshall explains that he has since learned that elite scientists must take great care when releasing a person’s suppressed memories, in that, the memories must be gradually released over a period of time, so as not to cause any unwanted results.

Marshall claims that this is what happened in the much-publicized case of brothers Lyle and Erik Menendez, tried in 1994 for the shotgun murders of their wealthy parents, media executive Jose Menendez and wife Kitty Menendez.

On August 20th, 1989, a 911 operator received a frantic call from Lyle Menendez, saying that someone had killed his parents.

When police arrived, they found the bodies of both in the den of their luxury Beverly Hills residence. Jose Menendez had been shot in the back of the head, while Kitty Menendez had been shot repeatedly while trying to escape the killers.

With no suspects in the double murders, the case remained unsolved until police discovered tapes of Erik Menendez confessing his involvement in the killings to a therapist.

Both brothers were charged in the multiple murders and, if convicted, could receive the death penalty.

The brother’s first trial, broadcast on Court TV, created a national frenzy, by providing daily coverage of the trial.

When the jury deadlocked, unable to agree to a verdict, the prosecution vowed to try the brothers again.

Three years later, both brothers were retried, convicted of two counts of first-degree murder and conspiracy to commit murder, and sentenced to life without possibility of parole.

Many at the time wondered what would have caused the Menendez brothers to kill their parents in such a brutal way.

Marshall explains that their father, Jose Menendez, a successful media executive, was also a loyal member of the Illuminati, and as such, was required to attend secret meetings at the cloning center, and bring the entire family.

Marshall explains that both brothers attended cloning, where they spent their hours of sleep surrounded by acts of sick perversity.

Coming of age as young adults, Marshall claims that both were in the process of being “awakened” to the truth about their twisted childhoods.

While he could find no one able to understand his memories, Marshall says that the brothers were able to discuss their strange dreams with each other, dreams they both shared in detail. By corroborating each other’s experiences, the Menendez brothers realized that they were not imagining things, and once they discovered the truth, struck back at those responsible.

Marshall claims to have met both brothers at cloning years ago. He says they agreed to a bargain with the Illuminati not to reveal what they remember about growing up at the cloning center and the perverse acts they witnessed in their dreams, in order to escape the death penalty.

Marshall says he was disappointed at the time and wanted them to tell all, so that the world might learn the truth about the abuse that takes place within prominent Illuminati families at top-secret cloning centers.

As time passed, more and more memories surfaced for Marshall.

He was able to remember the pain and suffering he endured there nightly, all the while realizing that his family had been there from the very beginning, had watched all this from the stands, but did nothing to help him.

Over time, Marshall’s thoughts turned to revenge.

Marshall had in his possession a special sword, one that he had ordered and purchased years before.

Lately, he found his thoughts returning to this sword, imagining the weight of it in his hand, as he swung at his mother, his step-father, those that he had trusted and had betrayed him.

He dreamed of the night, when he would wait until dark. Then he would carefully remove the sword and leave, walking quickly through the quiet neighbourhood.

Once he had reached their house, he would wait outside until all had gone to bed for the night.

Then, when the time was right, he would kick down the front door, entering with sword drawn.

Marshall would find his parent’s bedroom, where they lay sleeping, and start chopping and hacking each one into bloody pieces.

I might as well, he reasoned, I’m doomed anyway.

Marshall knew though, that he would be quickly arrested, and confined to a prison cell for the rest of his life.

He decided that it would be better to find a way to tell the world and expose them all at the same time.

He says, “I’ll get them better if I get them smarter.”

As of now, Marshall continues to be activated at the cloning center nightly, with no way to block the consciousness transfer.

He is sometimes asked how he manages to keep on. Some say they would have taken their own lives long ago.

Marshall says that suicide is not an option for him, as he is the only hope for so many others trapped there. For that reason he says, “I soldier on…”

Marshall says he will never stop speaking out about the use of top-secret human cloning in deep underground military bases until those there are freed and all cloning centers are shut down forever.

“No one has a story like mine,” says Illuminati whistleblower Donald Marshall.

Marshall came forward in 2011 to post online his eye-witness accounts of the serious crimes that take place nightly at deep underground military bases around the world, crimes including the sex trafficking and exploitation of young children in which elite members can indulge themselves without any possible chance of discovery.

Marshall has risked his life to speak out about the Illuminati’s use of top-secret human cloning, explaining that the science is much more advanced than the public is told.

Human cloning is not only possible, he says, but has been practiced for decades.

Known as REM-Driven Consciousness Transfer, Marshall says this technology is able to track, locate and then transfer an individual’s consciousness during the natural REM cycle of sleep to their identical clone stored at a cloning center many miles away.

By utilizing this top-secret tech, Marshall states that Illuminati members are able to meet as clones in deep underground military bases.

There they sit in the stands of a large sports arena to discuss global politics, plan future events and watch disgusting things done to innocent people, while their real bodies are at home sleeping.

When the real body wakes up, “all goes black,” says Marshall, as the clone body drops limp, while workers come to collect and store the deactivated clone until the next night.

Marshall claims to have attended these secret meetings with select members of the Illuminati since early childhood, as an unwilling participant in many covert government projects. While Marshall can relate in detail the events that took place at the cloning center every night, he reports that he could never remember how he got there, and as a child, thought that he had been abducted somehow.

Children are always in high demand there, says Marshall, explaining that the reason he was originally brought to the cloning center at age 5 was to service the members as a “diddle kid”, a child to be sexually used, abused and discarded in time.

Marshall wouldn’t learn until decades later that his family, while appearing “normal enough”, had strong Illuminati connections that went back for generations. He discovered that his own mother had been used there the same way when she was a young child. Now it was her turn to bring her own children to the cloning center in exchange for favors and benefits from other Illuminati members.

Marshall says he was memory suppressed until age 30, and would not consciously remember any of this until much later, when the elite decided it was time to mechanically release his memories to present consciousness, in what is known as “The Awakening”.

Marshall says in his earliest memory, he simply opened his eyes to find himself there, standing in the center of a mid-size indoor sports arena.

He says he thinks he was about 5 years old, although he admits that he might have been even younger.

Looking around, Marshall saw that he was surrounded by stands filled with people, sitting in the dark.

He says he had no idea of where he was or how he got there and, at the time, believed that he had been kidnapped in his sleep.

What Marshall didn’t realize was that he was not in his real body, but was activating a clone, which, according to Marshall, feels as real as real.

As he looked at them all, Marshall says all he could do is cry.

“I thought they were going to kill me,” he remembers, “I saw their faces.”

They asked him if he could do anything else, sing or dance perhaps?

With heart racing, Marshall began to scan the crowds, searching among those seated in the dark, desperately trying to think of a way out.

Sitting off to the side, he recognized Queen Elizabeth, complete with diamond tiara, accompanied by other members of the royal family.

Marshall began to sing an original song he created for her on the spot.

There in the bright lights he stood, a scared 5-year-old, serenading the Queen.

When Marshall finished, he remembers the silence that followed as the crowd sat in utter amazement.

“They’d never seen anything like it,” he says.

Marshall says the song was released weeks later, recorded by American country artist Kenny Rodgers, entitled Lady. The song immediately became a chart-topping hit, reaching #1 on Billboard magazine’s singles charts for 6 straight weeks just months later.

Marshall remembers being brought back there for more songs the next night, and the next and the next.

Standing alone in the dirt pit of the arena, Marshall says he would just sing out song after song. It was weird how he could do it, he says, could easily create a new song out of thin air.

He claims that his music was recorded and the songs given to different artists to sing. He says those songs all went on to become Top Ten hits…all of them. Before long, Marshall says that his reputation grew and everyone wanted to meet the “amazing song boy”.

Marshall reports that after his early success at hit-making, he was brought to the cloning center every night, where he joined a group of other talented children that had been selected to write music.

He remembers playing what they called the “make-a-song” game, with adults asking the children to think up rhyming words, etc. in order to produce new music. Marshall claims that he quickly surpassed them all, even though, at age five, he had a limited vocabulary and “needed help with the big words”.

He says that after about eight of his songs became chart-topping hits, the other children were intimidated by him and gave up trying to compete. Soon, they were bringing him on nights when there were no other children there, Marshall remembers, to create new music like magic and entertain the crowds.

Night after night, singing alone in the dirt pit of the arena, he created top-ten hits for such 80’s artists as Whitney Houston, Tina Turner, Madonna and many, many others. They called him “The Phenomenon”. But one day, Marshall claims he ran out of ideas. That’s when, he says, the nightmare began…

They began threatening to hurt him in order to scare a song out of him. Sometimes this would work, Marshall says, and, terrified, he would start singing out what would become the next hit single.

Other times, however, if he couldn’t think of an idea in time, Marshall would be severely punished. He says the threats turned into punches, slaps, and kicks, escalating to bizarre acts of torture. Marshall says the situation only got worse over time, with even the celebrities taking turns hurting him, in exchange for new songs.

With a never-ending demand for new music, Marshall says they began to hurt him every night, only stopping if he started to sing. He claims that they even began to experiment with different ways to punish him, all for the viewing pleasure of the privileged elite. Marshall says he became the “diversion between perversions”.

Marshall tells us that most are unaware that the Illuminati own nearly all news, media and entertainment outlets in the world.

With controlling interest in powerful multinational corporations, they own television networks, cable channels, movie studios, music labels, and most internet websites.

Marshall claims yearly profits from music and entertainment run in the millions.

Marshall reports that after his early success at hit-making, he was brought to the cloning center every night, where he joined a group of secret songwriters for the Illuminati.

There, these songwriters meet, while their real bodies sleep, and create the next big hits for a selection of musical artists. Marshall explains that making new music and songs are among the many activities that take place every night at top-secret cloning centers, in special recording studios built underground for this purpose.

Marshall says he’s forgotten more songs than he can remember making over the three decades he’s been trapped writing music there. He says he would sing a song from start to finish, complete with words and melody, in one take, in order to avoid punishment, and, as a reward, would then be deactivated and allowed to leave until the next night. For years, he would create a song a night, but sometimes they would demand more, three or even five songs before he would be released unharmed.

Marshall explains that his work is always credited to other songwriters, who receive all the fame and recognition.

He says that he would meet and work with these songwriters at the cloning center, where sometimes he didn’t even know who they were or told their names.

Furthermore, when these songwriters joined the Illuminati, part of their agreement was to never reveal to the public about where they really get their tunes.

One might question that, if his story is true, why hasn’t anyone revealed this to the public before now?

Marshall explains that for decades trapped songwriters have been trying to hint, through their music, in an attempt to warn the world about secret human cloning in deep underground military bases without getting themselves killed.

HOTEL CALIFORNIA

Take for example, the Eagles’ 1978 Grammy Award winning classic Hotel California, which tells the story of the narrator who, after a long day spent driving through the California desert, spots an isolated, luxury hotel and, feeling tired, decides to pull over.

He is greeted by the lovely hostess, who assures him that the hotel has plenty of room.

At first, the narrator is dazzled by the decadent lifestyle enjoyed by the hotel’s patrons. However, after witnessing disturbing acts of barbarity, he tries to leave, only to discover that he is a prisoner of the hotel, where “you can check out any time you like, but you can never leave“.

In a 2003 interview, Eagles’ songwriter Don Henley states the theme of Hotel California is “the end of innocence”, while in a 2008 interview, Eagles’ guitarist Don Felder describes the experience of driving into the city of Los Angeles at night as being the inspiration for the song.

He explains that none of the Eagles’ were originally from California, saying that “if you drive into L.A. at night…you can just see this glow on the horizon of lights, and the images that start running through your head of Hollywood and all the dreams that you have…”

One can only wonder, however, if the song was hinting about those seduced into joining the Illuminati with promises of fame and fortune, only to realize too late that they are trapped instead and must continue to attend cloning every night, participating in the sick acts of depravity that take place there.

Marshall says that he, too, tried to insert as many references into his music as he could, although he had to be careful or risk being tortured as punishment.

SWEET DREAMS
(ARE MADE OF THIS)

Marshall suggests you give your favorite songs another listen as he says that he “left a thousand clues in a thousand songs”, such as in the 1983 breakthrough hit for British duo, the Eurythmics’s Sweet Dreams (Are Made of This). The song achieved global success for the musical couple, topping charts all over the world, including the U.S.

Sweet dreams are made of this
Who am I to disagree
I travel the world and the seven seas
Everybody’s looking for something

Some of them want to use you
Some of them want to get used by you
Some of them want to abuse you
Some of them want to be abused

Dark and powerful, the song captures the restlessness of those searching for an outlet for their forbidden desires, whether they want to hurt others, or be hurt by others.

Marshall says the song is his, written by him to describe how every act of perversity imaginable can be found at cloning centers in deep underground military bases worldwide, where “everybody is looking for something” and there, they usually find it.

LIVE TO TELL

Pop legend, Madonna is credited for writing the lyrics to the 1986 ballad, Live to Tell, with original composition by Patrick Leonard, although, according to Marshall, he actually wrote the song at the cloning center when he was only 11 years old.

He remembers Madonna as being a “cold soul” who would personally torture him for new songs. What’s more, Marshall claims to have written much of Madonna’s music over the years from the very beginning of her career.

In an interview about the song, Madonna said, “I thought about my relationship with my parents and the lying that went on. The song is about being strong, and questioning whether you can be that strong but ultimately surviving”.

However, the words in the song’s chorus take on new meaning when read with the understanding that Marshall used the lyrics as a way to embed hints about secret human cloning activities in deep, underground military bases.

1st Chorus:
A man can tell a thousand lies
(I’ve written many thousands of popular
upbeat songs that do not reflect
my true feelings at being trapped here…)

I’ve learned my lesson well
(I’ve learned how to create successful music
that the public will want to buy…)

Hope I live to tell
The secret I have learned,
(I hope I survive the repeated acts of
torture inflicted on me, night after night…)

‘Till then, it will burn inside of me.
(‘Till then, I will continue to try to alert the public
through my music every chance I get…)

2nd Chorus:
The truth is never far behind
You kept it hidden well
(I’ve embedded hints throughout the music,
as to not arouse too much suspicion
and be punished for it…)

If I live to tell
The secret I knew then
Will I ever have the chance again
(I must take every opportunity I have
to add hints to my music,
for I don’t know how much longer
I will be allowed to live…)

WELCOME TO THE JUNGLE

Marshall claims he was just 12 years old when he wrote Welcome to the Jungle for heavy metal band, Guns N’ Roses in 1987, considered by many to be one of the greatest hard rock songs of all time.

While the band maintains that the song was written about life on the mean streets of Hollywood, Marshall explains that the song is really about the fun ‘n’ games that are played every night at top-secret cloning centers, where new recruits are welcomed to join the jungles of the cloning center.

Welcome to the jungle
We’ve got fun ‘n’ games
We got everything you want, honey
We know the names
We are the people that can find
Whatever you may need
If you got the money, honey
We got your disease

Marshall says that new members are lured into joining the Illuminati, with promises of fame and fortune, and in exchange for promotion and opportunities, they must agree to attend cloning every night to service other members as sex slaves.

Welcome to the jungle
We take it day by day
If you want it you’re gonna bleed
But it’s the price you pay
And you’re a very sexy girl
That’s very hard to please
You can taste the bright lights
But you won’t get them for free

At first, new members are offered everything you want…whatever you may need… Once famous, however, Marshall notes that many regret joining and wish to leave.

They all discover, however, that there is no way out and must continue to participate in sick perversity every night.

SILENT LUCIDITY

In 1990, at the age of 15, Marshall says that he wrote Silent Lucidity for metal band Queensryche. The song was their biggest hit, peaking at #9 on the Billboard Hot 100, was nominated for a Grammy award in the category of “Best Rock Song” in 1992 and is ranked #21 on VH1’s list of Greatest Power Ballads.

Because of the lyrical content, and the title of the song, it is assumed to be based on the subject of lucid dreaming.

However, Marshall says that the song is really about the numerous senseless crimes he witnessed at the cloning center, where many are brought there in their dream state, to be victimized for entertainment.

Hush now, don’t you cry
Wipe away the teardrop from your eye
You’re lying safe in bed
It was all a bad dream
Spinning in your head…

What’s more, Marshall claims that many were lured to the cloning center to meet the “amazing song boy”, and were told that this was necessary in order for him to create music that would turn them into stars, when, in reality, these people ended up murdered for sport or profit…

…a soul set free to fly…

At one point, a recorded voice explains how to consciously direct your dreams.

Marshall says he whispered help me at the end while the song was being recorded, to be then passed on to other musical artists to produce.

However, he never expected his words to be included in the official version and was amazed to find out later that it was. This cry for help can be heard at 3:53.

ENTER SANDMAN

Marshall was 16 years old when he wrote Metallica’s 1991 heavy metal hit Enter Sandman which, he says, describes the terror felt by those held hostage at top-secret cloning centers.

The song propelled Metallica to worldwide popularity. The single debuted at No. 1 on the Billboard 200 in the United States and nine other countries, and sold over 22 million copies worldwide.

Twenty-five years later, Enter Sandman remains one of Metallica’s most played songs; loved by fans, acclaimed by critics, and considered by many to be one of the greatest hard rock songs of all time.

Credited for writing the song’s lyrics, vocalist and rhythm guitarist James Hetfield has said the song deals with the concept of a child’s nightmares, about “destroying the perfect family; a huge horrible secret in a family”.

Say your prayers, little one
Don’t forget, my son
To include everyone

Tuck you in, warm within
Keep you free from sin
Till the Sandman he comes

The Sandman is a mythical character in European folklore that brings good dreams by sprinkling magical sand into the eyes of people while they sleep at night.

However, Metallica’s version of the Sandman is something different altogether, a malevolent guide who enters your dreams at night, to escort you to a nightmarish Never-Never Land.

Sleep with one eye open
Gripping your pillow tight

Exit: light
Enter: night
Take my hand
We’re off to Never-Never Land

Marshall says that the chorus of Exit light, Enter night accurately describes the double life of those trapped there, knowing that, eventually, they must fall asleep, only to awaken in the cloning center; a horrific war zone filled with…

Dreams of war, dreams of liars
Dreams of dragon’s fire
And of things that will bite.

Marshall explains he doesn’t know how to block the top-secret consciousness transfer technology that that is used to track, kidnap and hold those hostage at the cloning center until their real bodies wake up.

For that reason, Marshall says that he “hates to go to sleep”.

SMELLS LIKE TEEN SPIRIT

Marshall states that he wrote legendary rock band Nirvana’s1991 Gen-X anthem Smells Like Teen Spirit.

The song was Nirvana’s biggest hit, reaching number six on the Billboard Hot 100 and ranking high on music industry charts around the world.

In fact, the unexpected success of the lead single from their album Nevermind is often used to mark the point where alternative rock music entered the mainstream.

Both a critical and commercial success, Smells Like Teen Spirit was nominated for two Grammy Awards: Best Hard Rock Performance with Vocal and Best Rock Song, and was granted the “anthem of a generation” status by the music press.

Twenty-five years later,following lead singer Kurt Cobain’s 1994 death and the band’s breakup, Smells Like Teen Spirit is still widely considered to be one of the greatest songs of all time.

The song was inducted into the Rock and Roll Hall of Fame’s list of “The Songs That Shaped Rock and Roll”, was awarded “Song of the Century” by The Recording Industry Association of America and ranked at the top of Rolling Stone Magazine’s “The 500 Greatest Songs of All Time”.

The lyrics to Smells Like Teen Spirit are often difficult for listeners to decipher, both due to their nonsensicality and because of Cobain’s slurred, guttural singing voice.

This incomprehensibility contributed to the early resistance from radio stations to add the song to their playlists. MTV went as far as to prepare a version of the video that included the lyrics running across the bottom of the screen.

Rock critic Dave Marsh wrote, “Teen Spirit reveals its secrets reluctantly and then often incoherently”.

Marshall, trying to decipher the lyrics of the song, felt after reading the correct lyrics from the song’s sheet music that “what I imagined was quite a bit better (at least, more gratifying) than what Nirvana actually sang”.

Some concluded that the song had no meaning and was just a collection of meaningless words, while others, such as The New York Times observed a “bitter irony” in the title, saying that the band knows only too well that “teen spirit is routinely bottled, shrink-wrapped and sold”.

Smells Like Teen Spirit is widely interpreted to be a teen revolution anthem, an interpretation reinforced by the song’s music video.

In an interview conducted the day Nevermind was released, Cobain stated the song was about his friends, explaining, “We still feel as if we’re teenagers because we don’t follow the guidelines of what’s expected of us to be adults… It also has kind of a teen revolutionary theme.”

As Cobain did more interviews, he changed his explanation of the song and rarely gave specifics about the song’s meaning.

When discussing the song in Michael Azerrad’s biography Come as You Are: The Story of Nirvana, Cobain revealed that he felt a duty “to describe what I felt about my surroundings and my generation and people my age.”

According to Marshall, the lyrics to Smells Like Teen Sprit provide an accurate description of the atmosphere at the cloning center when he created new music, where it can be said that:

With the lights out, it’s less dangerous,
Here we are now, entertain us…

Marshall explains that many at the cloning center have told him that watching him create new music was the most magical thing in the world. Marshall says that when he was singing, the crowds were entertained and, for a moment, not engaged in the acts of depravity that often occurs there in the pit.

Marshall states that the brutal acts of blood-sport, the perverse sex parties, and the free-for-alls available at the cloning center take place in the dirt pit of the cloning center arena; where some enjoy the wild debauchery, while others participate and just pretend to have fun.

For that reason, Marshall says that when he created new music on the spot, the others there would be allowed to return to their stadium seats, sit in the darkness and enjoy the show.

But, according to Marshall, he struggled to keep up with the constant demand to create new music at the cloning center or suffer brutal torture as punishment.

Some nights, Marshall says he wouldn’t be able to think up a new idea in time, and for that reason, he sings,

I feel stupid and contagious,

Here we are now, entertain us…Marshall explains that he just sings out the songs, making it up as it goes.

Sometimes, when he’s at a loss for words, he just uses the first one that comes to mind, hence verses like:

A mulatto
An albino
A mosquito
My libido

Marshall says he laughs when he later reads of musicians who claim credit for his work, trying to explain the true meaning behind the lyrics of his songs, when actually he says it just means: Don couldn’t think of a better word…

Later, the third verse reads:

I’m worse at what I do best
And for this gift I feel blessed

Marshall claims that even on the nights he struggled to create new music for the privileged elite, he realized that if it weren’t for his ability to create hit songs that generated many millions, he would have been used, abused and discarded long ago.

For that reason he says: Music saved my life…

LOSING MY RELIGION

Marshall maintains that he wrote the 1991 song Losing My Religion, recorded by alternative rock band R.E.M. to capture the hopelessness of his situation there, trapped by his own success, with no chance of escape.

Marshall says that he hates the song, as he says hearing it brings back bad memories of being beaten in a small side room at the cloning center, where he was surrounded and kicked until he began singing out a song, broken bones and all.

Losing My Religion became R.E.M.’s biggest hit in the U.S., peaking at No. 4 on the Billboard Hot 100, and stayed on the chart for 21 weeks.

R.E.M. instrumentalist/composer, Mike Mills called the song “the phenomenon that [was] a worldwide hit… in almost every civilized country in the world.”

Built on a mandolin riff, the song was an unlikely hit for the group, garnering heavy airplay on the radio as well as on MTV, due to its critically acclaimed music video.

The song became R.E.M.’s highest-charting hit in the United States, reaching No. 4 on the Billboard Hot 100 and staying on the chart for 21 weeks.

R.E.M. received seven Grammy Award nominations in 1992, while Losing My Religion alone earned several nominations, including Record of the Year and Song of the Year.

The song won two Grammys for Best Pop Performance by a Duo or Group with Vocals and Best Short Form Music Video.

In 2004, Rolling Stone listed the song on its’ list of the “500 Greatest Songs of All Time”. In 2007, the song was listed as No.9 on VH1’s 100 Greatest Songs of the 90’s. The song is also included on The Rock and Roll Hall of Fame’s list of 500 Songs that Shaped Rock and Roll.

R.E.M. guitarist Peter Buck is credited with writing the main riff and chorus to the song, using a mandolin, while watching television one day.

In Johnny Black’s Reveal: The Story of R.E.M., Buck relates how he had just bought the instrument and was attempting to learn how to play it, recording the music as he practiced.

Buck said that “when I listened back to it the next day, there was a bunch of stuff that was really just me learning how to play mandolin, and then there’s what became Losing My Religion”.

R.E.M. lead singer and lyricist, Michael Stipe told The New York Times that the song was about romantic expression. He told UK’s Q magazine that the song is about “someone who pines for someone else. Its’ unrequited love, what have you.”

According to Marshall, the song is actually about his determination to destroy the Illuminati, a downfall he had carefully set up through the use of embedding references to top-secret cloning throughout his music over the decades.

Under these circumstances, the lyrics take on new meaning, especially the reference in the third stanza in which one is asked to consider the song to be the hint of the century…

Life is bigger
It’s bigger than you
And you are not me
The lengths that I will go to
The distance in your eyes
Oh no, I’ve said too much
I set it up

Marshall reveals that his secret is “bigger” than you can imagine, for you are not me. Unlike most at the cloning center, who simply sit and watch him sing, he vows never to surrender in his quest to destroy the Illuminati, no matter the cost to him personally.

Oh no, I’ve said too much
I set it up

He knows he must be careful not to say too much or risk punishment, although by embedding hints in his music, he sets up their eventual downfall…

That’s me in the corner
That’s me in the spotlight
Losing my religion
Trying to keep up with you
And I don’t know if I can do it
Oh no, I’ve said too much
I haven’t said enough

That’s me in the corner
(beaten and kicked in a small side room at the cloning center)

That’s me in the spotlight
(of the cloning center arena,
singing out,
losing hope that I will ever be set free…)

Losing my religion
Trying to keep up with you
And I don’t know if I can do it

Oh no, I’ve said too much
I haven’t said enough

Marshall speaks to the constant challenge where he knows that he will be punished if he says too much, or fail in his quest to destroy the Illuminati if he says too little…

I thought that I heard you laughing
I thought that I heard you sing
I think I thought I saw you try

Speaking to himself, Marshall thinks that he hears himself “singing, laughing, trying”.

However, such carefree moments for him are “just a dream”…

Every whisper
Of every waking hour
I’m choosing my confessions
Trying to keep an eye on you
Like a hurt, lost and blinded fool, fool
Oh no, I’ve said too much
I set it up

Always planning the hints or “confessions” that he will insert into his music, Marshall must, at the same time, keep an eye on his abusers, in preparation for the next attack…

Consider this
Consider this, the hint of the century
Consider this, the slip
That brought me to my knees, failed
What if all these fantasies come
Flailing around
Now I’ve said too much

Marshall asks us to regard the song as the biggest expose of the secret elite, knowing, however, that if this “hint of the century” should fail, the loss will bring him to his knees…

I thought that I heard you laughing
I thought that I heard you sing
I think I thought I saw you try

But that was just a dream
Try, cry, why, try
That was just a dream
Just a dream
Just a dream, dream

Written in a dark moment, Marshall doubts whether he will ever be able to succeed in his dream to destroy the Illuminati, considering that he is just one against the most powerful organization on Earth.

IT’S THE END OF THE WORLD
AS WE KNOW IT (AND I FEEL FINE)

It’s the End of the World as We Know It (And I Feel Fine), another song by the rock band R.E.M., appeared on their 1987 album Document, the 1988 compilation Eponymous, and the 2006 compilation And I Feel Fine…The Best of the I.R.S. Years 1982-1987. It was also released as a single in November 1987, reaching No. 69 in the US Billboard Hot 100 and later reached No. 39 in the UK singles chart on its re-release in December 1991.

This gleefully apocalyptic song is known for its’ quick flying, seemingly stream of consciousness rant with a number of diverse references to end time prophecies.

The words in the title first appear in the 1972 film Conquest of the Planet of the Apes, where, in preparing to fight the apes, a human says: “If we lose this battle, that’s the end of the world as we know it.”

Explaining the song to Q magazine in 1992, lead singer Michael Stipe said: “The words come from everywhere. I’m extremely aware of everything around me, whether I am in a sleeping state, awake, dream-state or just in day to day life…along with a lot of stuff I’d seen when I was flipping TV channels. It’s a collection of streams of consciousness.”

Marshall claims that he wrote the 1987 song while trapped during his dream state in a deep underground military base.

He says the title actually means “It’s the End of the Illuminati-Controlled World, as We Know It, and what’s more, I Feel Fine”, since Marshall maintains that destroying the Illuminati has been his dream since he was a young child.

He says the lyrics describe the Illuminati’s plan to create a fake Armageddon by using top-secret HAARP (weather manipulation technology) to create global disasters (It starts with an earthquake) as well as the recreation of freaky acts straight out of the Book of Revelations (birds and snakes).

Then, after unleashing a series of manufactured global disasters, the Illuminati plan to sit back and watch the chaos as civilization breaks down, giving them the excuse to send in the military to restore order, confiscating all guns and disarming the populace, thus allowing them to completely take over the world.

It [the Apocalypse] starts with an earthquake
[and the unleashing of] birds and snakes
in a frightening act of God’s fury

[And like the] Eye of a hurricane, [you] listen to yourself churn
as you hopelessly watch the world, as you know it, spin out of control

[And with] a government for hire
pretending to address the world emergency, while
Team by team [of] reporters [pretend to be] baffled [on the] Six o’clock, TV hour
covering such fake news stories as
slash and burn, book burning [and] bloodletting

Every motive escalate[s][while] automotive[s] incinerate
meanwhile, world leaders participate in a
Tournament of Lies

[Offering] solutions [and] alternatives
which, Marshall suggests,
[we] decline…

 CREEP

Creep was released by English alternative rock band Radiohead as their debut single in 1992, and it later appeared on their first album Pablo Honey.

During its initial release, Creep was not a chart success. However, upon re-release in 1993, it became a worldwide hit. The song is included in the Radiohead: The Best Of compilation album.

Creep met with little success in the UK when it was first released in September 1992. Radio 1 found the song “too depressing” and refrained from playing the song. Creep reached number 78 on the UK Singles Chart, selling only 6,000 copies.

Toward the end of 1992, DJ Yoav Kutner played Creep incessantly on Israeli radio. The song soon became a national hit.

Creep had similar success in New Zealand, Spain and Scandinavian countries.

Around the same time, California radio stations added the song to their playlist, and other radio stations along the West Coast soon followed.

By the second half of 1993, the song had become a hit nationwide, charting at number 34 on the Billboard Hot 100.

Radiohead lead vocalist, Thom Yorke, who wrote Creep while studying at Exeter University in the late 1980s, says the song tells the tale of an inebriated man who tries to get the attention of a woman to whom he is attracted by following her around.

In the end, he lacks the self-confidence to face her and, subconsciously, feels that he has become her.

According to Radiohead guitarist Jonny Greenwood, the song was inspired by a girl that Yorke had followed around who showed up unexpectedly during a show by the band. He says the song was, in fact, a happy song about “recognizing what you are”.

Marshall says he wrote Creep while trapped at the cloning center, singing directly to the Queen, as he found that “serenading the monster” would sometimes allow him to get away, unhurt, for one more night.

Many are unaware that Queen Elizabeth II, as head of state of the United Kingdom and of 31 other states and territories, is the legal owner of about 6,600 million acres of land, one sixth of the earth’s non-ocean surface, making her the largest landowner and richest individual on Earth.

In fact, there is no way to easily assess the value of her real estate holdings, although a rough estimate places their value into many, many trillions of dollars.

For that reason, Marshall says no world leader ever opposes her in any way for fear of retaliation.

Marshall explains that for generations, royal families in the Illuminati have indulged their sick fantasies in wild sex parties, safe from discovery behind castle walls on remote estates.

However, with the advance of top-secret cloning technology, the royals were given the unimagined opportunity to meet every night in deep underground military bases, where, by activating identical clones, they can indulge every whim, while their real bodies sleep at night.

Marshall explains that the Queen holds much power and authority at the cloning center, where everyone treads lightly, as she is capable of nearly anything and there is no guessing what she might do next. Despite her carefully constructed public image of service and duty to crown and country, Marshall says the Queen is actually unstable and psychotic, caused by decades of participating in sick depravity underground.

This explains the first verse of Creep, which reads:

When you were here before,
Couldn’t look you in the eye,
You’re just like an angel,
Your skin makes me cry,
You float like a feather,
In a beautiful world,
I wish I was special,
You’re so very special

Only at the end of the song does Marshall expresses his true feelings, as he searches for answers to explain how he ended up hopelessly trapped in a top-secret, hi-tech hell.

What the hell am I doing here?
I don’t belong here
I don’t belong here…

FOUR MINUTES TO SAVE THE WORLD

4 Minutes is a song by pop legend Madonna from her eleventh studio album Hard Candy (2008), featuring a duet with musical artist Justin Timberlake, with backing vocals by rapper/record producer, Timbaland.

According to Madonna, the song is about saving the environment and “hav[ing] a good time while we are doing it.”

She also cited the song as the inspiration for the documentary I Am Because We Are (2008).

In the United States, 4 Minutes debuted at number 68 on the Billboard Hot 100 chart in April 5, 2008, based solely on airplay.

Within a week, the song had jumped 65 places, reaching number three on the chart.

The single was an international hit, topping the charts in over 21 countries worldwide, including Australia, Canada, Germany, Italy, Spain and the United Kingdom.

As of July 2012, 4 Minutes had become Madonna’s best-selling digital single in the United States, with 3 million copies sold.

The song peaked at number three on the Billboard Hot 100, giving Madonna her 37th top-ten single, breaking the record previously held by Elvis Presley as the artist with most top-ten hits.

Almost five months after its release, 4 Minutes was certified double platinum by the Recording Industry Association of America (RIAA) for sales of two million paid digital downloads.

4 Minutes was the tenth most downloaded song in the United States in 2008 with sales of 2.37 million, and has sold over three million copies as of July 2012.

The song received two Grammy Award nominations for Best Pop Collaboration with Vocals and Best Remixed Recording, Non Classical at the 2009 ceremony.

The song’s lyrics carry a message of social awareness, inspired by Madonna’s visit to Africa and the human suffering she said she witnessed there.

In an interview with MTV News, Madonna further explained the meaning of the song: “I don’t think it’s important to take it too literally. I think the song, more than anything, is about having a sense of urgency; about how we are, you know, living on borrowed time essentially and people are becoming much more aware of the environment and how we’re destroying the planet…so it’s kind of like, well, if we’re going to save the planet, can we have a good time while we are doing it?”

According to Marshall, the song is his, written by him at the cloning center. What’s more, Marshall says the title actually refers to a sick game they would often play, where he would be allowed only 4 minutes to write a new song or suffer the consequences.

Most nights, Marshall would be able to scramble together some kind of song, but this time was different.

Marshall says that you can hear his desperation in the beginning of the song, as he searches for some idea, fully aware that time is quickly slipping away.

The song begins with Timbaland chanting the opening lines:

[Timbaland]
I’m outta time and all I got is 4 minutes, 4 minutes
I’m outta time and all I got is 4 minutes, 4 minutes
I’m outta time and all I got is 4 minutes, 4 minutes
I’m outta time and all I got is 4 minutes, 4 minutes
I’m outta time and all I got is 4 minutes, 4 minutes
I’m outta time and all I got is 4 minutes, 4 minutes
I’m outta time and all I got is 4 minutes, 4 minutes
I’m outta time and all I got is 4 minutes…

 He says that he just kept repeating the phrase over and over again, until he had enough of an idea to begin singing.

Later verses make it clear that only 4 minutes are remaining in order to save the world:

[Madonna and Timberlake]
Time is waiting
We only got 4 minutes to save the world
No hesitating
Grab a boy, grab a girl
Time is waiting
We only got 4 minutes to save the world
No hesitating
We only got 4 minutes, 4 minutes.
Later, they trade choruses:
[Madonna]
The road to hell
Is paved with good intentions, yeah
[Timberlake]
But if I die tonight at least I can say
I did what I wanted to do
Tell me, how ’bout you?

Marshall is reminding himself that no matter what the personal consequences, he will never give up in his efforts to expose and destroy the Illuminati.

And, while he was able to crank out an original song in under 4 minutes, the next night, however, Marshall says he wasn’t so luckyand was severely punished for it.

Marshall says he’s surprised that people don’t pay enough attention to lyrics and have no idea as to their true meaning.

As incredible as all this sounds, Marshall claims that he only mentions the music as it provides an explanation as to why he was allowed to live all these years, as he was simply too valuable to kill.

Marshall hopes that one day, people will understand what their favorite songs are really about and demand a complete shutdown of all top-secret cloning centers worldwide.

Inspired by the 1984 Academy Award winning film, Amadeus, about the life of prolific classical composer, Wolfgang Amadeus Mozart, Falco’s music video imagines Mozart’s return as a modern day rock god.

He appears to be living the high life, loved and celebrated the world over by the rich and famous, all hungry for the new music that will turn them into superstars.

According to Illuminati whistleblower Donald Marshall, the music video accurately portrays his bizarre double life as a top-secret songwriter for the privileged elite of the New World Order.

He claims that he wrote Rock Me Amadeus, as a 10-year-old kid trapped at the cloning center, where “Amadeus” was one of his many nicknames.

The video depicts the constant demand for new music there, where his songs launched many a successful career.

“You don’t know it,” he says, “but you’ve been listening to me for over 30 years…”

Marshall came forward in late 2011 to speak out about the Illuminati’s use of top-secret human cloning technology which, he says, is much more advanced than the public is told.

He states that this top-secret tech allows members of the Illuminati to transfer their individual consciousness during the natural REM stage of sleep to their identical clones stored in a deep underground military base.

There they sit in the stands of a large sports arena to discuss global politics, plan future events and watch disgusting things done to innocent people, while their real bodies are at home sleeping.

Marshall has attended cloning since childhood, he says, as an unwilling participant in covert government projects.

Marshall explains that after displaying an early success at songwriting, he was brought to the cloning center night after night, in order to produce new music for such 80’s artists as Whitney Houston, Tina Turner, Madonna and many, many others.

Standing alone in the dirt pit of the arena, Marshall says he would just sing out song after song.

It was weird how he could do it, Marshall says, could easily create a new song out of thin air.

Marshall’s first song, entitled Lady, recorded by American country artist Kenny Rodgers, became a chart-topping hit, reaching #1 on Billboard magazine’s singles charts for 6 straight weeks just months later.

He says his next songs all went on to become Top Ten hits… all of them.

Before long, Marshall’s reputation grew and everyone wanted to meet the “Amazing Song Boy”.

Marshall tells us he doesn’t write songs down, but just “sings ’em out”, making it up as he goes, in the dirt arena of the cloning center, sometimes stopping for a moment to think up the next line or verse.

Marshall states that his songs would be recorded and then given to other songwriters to claim credit.

One can only imagine the experience of sitting in the darkly-lit arena of the cloning center, watching, waiting as Marshall creates new music on the spot, knowing that his songs are a guaranteed hit, that just one of his songs could make or break your career, one song could change your life forever… Who’s gonna get it?

Marshall explains that sometimes he would sing out a random song, and a celebrity would claim the song, saying that it sounded like something he’d sing.

Other times, he was asked to write custom songs for a specific artist or group, in which case, he had to write the song with their signature sound in mind.

But, he says that it’s not just about making music, it’s about making music that sells.

Through decades of trial and error, Marshall developed an uncanny ability to predict the music that people will like, and most importantly, people will buy.

His songs have made many millions of dollars for major record labels, musical groups, artists and bands the world over.

He had to make songs that were successful, because if a song failed, he would be blamed and tortured later as punishment.

Marshall says that now he doesn’t even like listening to music, because of bad memories of how he had to sing for his life for so many years.

What’s more, he finds that he can’t lose himself in the sound, but instead is always thinking: Will it sell? 

In song making, Marshall explains that the melody is key in creating hit songs. He has learned that people want a catchy tune with some repetition, as we psychologically crave listening to music with a repeating pattern of rise, climax and fall.
 
Marshall tells us that he also likes to add familiar melodies from nursery rhymes and children’s songs in his music, as he has found that listeners will unconsciously remember the sound from their childhood and want to hear the song again and again.

Marshall points to the 2012 hit single Somebody that I Used to Know that he wrote for Australian singer-songwriter Gotye.

He explains that the song opens with a simple melody played on xylophone that he lifted from the nursery rhyme Baa Baa Black Sheep.

Marshall says that everyone subliminally remembers this familiar melody, although they won’t consciously make the connection.

This technique worked as the chart-topping hit went on to receive both critical and commercial success, selling more than 13 million copies worldwide, to become one of the best selling singles of all time.

In fact, Goyte co-manager John Watson said, “We’ve never seen any song make a deeper or more immediate connection with so many people.”

Marshall explains that using techniques like this helped him sell many records and kept him from facing torture… most times.

Even though Marshall’s work has received numerous awards, honors and accolades over three decades, he has yet to receive any public recognition.

For example, Gotye won two Grammy Awards in 2013 for hit single Somebody that I used to Know for Best Pop Duo/Group Performance and Record of the Year.

And as for Marshall receiving any financial compensation for all the many millions his music has made in the last three decades?

Well, let’s just say, he’s still waiting on that first check…

For example, Marshall’s first song Lady, written at the age of 5, has been singer-songwriter Lionel Richie’s most profitable song ever.

Richie, who was given songwriting credit for the ballad, told Entertainment Weekly that he has an “estate that Lady bought”.

In fact, one might say Marshall is the “most famous man you’ve never heard of”.

So, what songs does he claim to have written in his over 30 year career as a secret Illuminati songwriter?

As he says, just turn on the radio…

Music industry insiders know that while they may have many talented performers under contract, ready for stardom, their careers go nowhere without that one catchy hit single that receives massive airplay on the radio, driving consumers to download and buy.

Because, even with talent and a fan base, singers still need that crucial hit song to launch their careers and keep them afloat.

But that was never a problem with the kid onboard.

Marshall says he’s forgotten more songs than he can remember making over the three decades he’s been trapped there, writing music.

Marshall claims that his ability to create instant hits launched the careers of such 80’s superstars as Madonna, Whitney Houston, and Michael Jackson, all of whom were massively successful, with their music videos becoming a permanent fixture on MTV, gaining them a worldwide audience.

He says he remembers when Madonna was first introduced at the cloning center, having been discovered by Sean Penn as a dancer at a New York City strip club.

Penn saw her potential and requested she be brought to the cloning center, to meet other members of the Illuminati.

Marshall maintains that, in the beginning, he wrote all of her songs, (Holiday, Borderline, Lucky Star, Like A Virgin, Papa Don’t Preach, etc.), songs that went on to top charts around the world.

In fact, by 1989, Madonna was named Artist of the Decade by a number of recognized industry sources.

Whitney Houston became the second best selling female artist of the 1980’s, second only to Madonna, with her debut album becoming the best selling debut album of all time.

Houston was the first and only artist to chart seven consecutive No.1 songs on the Billboard 100, all songs Marshall created specifically for her at the cloning center (You Give Good Love To Me, Saving All My Love For You, How Will I Know?, etc.).

Marshall remembers Houston as being nice at first, however, in time she changed as she increasingly turned to drugs and alcohol to cope with the depravity she encountered at the cloning center every night in her so-called “dreams”.

Music industry insiders soon realized that Marshall’s music had the power to launch even big stars into superstardom, as in the case of the late King of Pop, Michael Jackson, who Marshall remembers well over his years at the cloning center.

Already enjoying the critical and commercial success from his 1979 solo album Off The Wall, Jackson’s follow-up album, Thriller, released several years later, would become and currently remains, the best selling album of all time, with an estimated sales of 65 million copies worldwide.

Thriller was the first album to have seven Billboard Hot 100 top 10 singles, including Billie Jean, Beat It, and Wanna Be Startin’ Somethin’ and won a record-breaking eight Grammy Awards in 1984, including Album of the Year.

And even though Jackson is given songwriting credit for four songs on the album (Billie Jean, Beat It, Wanna Be Startin’ Somethin’, and The Girl Is Mine). Marshall claims that he actually wrote those songs for Jackson at the cloning center.

Marshall says he remembers Jackson and his entire family well, where he says the Jacksons were  privileged members.

Marshall says he has to laugh at the late singer’s reputation as a truther desperate to expose the Illuminati, when actually he says Jackson was “totally down” with them, and was not at all like his carefully crafted public image.

What’s more, Jackson’s 1996 hit single They Don’t Really Care About Us is his song, that Marshall says he wrote to alert the public about how the world elite really feel about you and me.

Marshall’s music not only created new superstars, his songs also supplied fading talent with powerful comeback careers, as in the case of the Queen of Rock ‘n’ Roll, Tina Turner, who launched a major comeback in the mid-80’s with the release of her 1984 solo album Private Dancer.

The lead single What’s Love Got To Do With It won three Grammy Awards that year, including Record of the Year.

Quickly recorded in London in just two months, Private Dancer became a world-wide success.

What’s Love Got To Do With It reached the top ten within weeks and, two months later, reached number one on the Billboard Hot 100 in the U.S., selling over twenty million copies worldwide.

While Turner brought her powerful vocals and electric stage presence, Marshall provided the tunes (What’s Love Got To Do With It, Private Dancer, Better Be Good To Me, etc.).

Another comeback kid, the late pop legend David Bowie, enjoyed massive mid-career success thanks, in part, to Marshall.

While known for decades as an innovator in music, art and design, Bowie had yet to write the pop song that would top charts in the U.S. and around the world.

Enter Marshall, who supplied the title track, Let’s Dance, the hit single, Modern Love, as well as a remix of China Girl for Bowie’s 1983 album, Let’s Dance.

The title track became an instant hit, reaching No.1 in the U.S., U.K. and around the world, while Modern Love and China Girl, both reached No. 2 in the U.K., all courtesy of Marshall.

Let’s Dance has sold 10.7 million copies worldwide, making it Bowie’s best-selling album.

Let’s Dance was nominated for the Album of the Year at the 1984 Grammy Awards, but lost to Michael Jackson’s Thriller.

With his career revitalized, Bowie traveled the globe with the sold-out Serious Moonlight Tour, emerging as one of the most important artists of the day.

The success of the album surprised Bowie, who later attempted to write his own catchy pop songs with the follow-up albums Tonight (1984) and Never Let Me Down (1987), which critics dismissed.

Unable to duplicate the success he had found using Marshall’s songs, Bowie returned to writing his own songs, experimenting with a wide variety of musical styles.

Not only did Marshall’s music launch new careers and relaunch those not-so-new, his songs also guaranteed success, reassuring for the Illuminati-backed music industry, known for playing it safe musically and distrustful of anyone willing to take chances.

For example, take the case of the late legendary singer-songwriter Prince and his neo-psychedelic album Around the World in a Day, released just one year after the 1984 mega-hit, Purple Rain.

The new album reflected important steps in Prince’s musical evolution, incorporating new instruments and musical styles which prompted critics to draw numerous comparisons to The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.

However, the record-buying public didn’t respond well to Prince’s new sound, resulting in a dramatic record sales drop, from 13 million sold for Purple Rain to only 2 million sold for the new album.

The only song on the album still remembered today, is the successful hit single Raspberry Beret, a popular song that quickly reached number two on the Billboard Hot 100, and was played at every Prince concert thereafter.

At the time, critics commented that the sound of the song was different than any previous Prince track, with the incorporation of international instruments and middle eastern percussion cymbals.

Marshall claims that Raspberry Beret is his, that he co-wrote with Prince, guaranteeing the album at least one hit single.

Marshall explains that many of the songwriters for whom he provided music are actually bitter by the fact that Marshall’s songs are usually the most popular tracks on any album, always the most requested and loved by fans.

Marshall contends that his music was not only used to create new superstars, his songs provided the jet fuel to launch new musical movements, such as the so-called Second British Invasion of the U.S. of the 1980’s.

One might say that this Invasion’s first lethal attack took the form of a single entitled Don’t You Want Me by British synthpop band The Human League from their album Dare.

This song, written by Marshall, about the failed romance between a man and a cocktail waitress-turned-superstar, was released in early 1982, and by July, hit No.1 on the Billboard Hot 100, where it stayed for three solid weeks.

Scores of British synthpop groups followed such as the Eurythmics, Culture Club, Duran Duran, Wham!, Billy Idol, Tears For Fears, as well as the post punk rock sounds of The Police, U2, and the popular mega-hits of Phil Collins.

Marshall remembers meeting these artists at the cloning center and claims to have written all of their biggest hits.

He explains that musicians like Collins, Sting, and Bono are loyal Illuminati members and favorites of the Queen, who would reward faithful service with guaranteed hits from Marshall.

He even wrote
Peter Gabriel’s
smash single
Sledgehammer,
he says
to describe an act
of punishment he suffered
at the cloning center using
an actual sledgehammer.

Marshall claims that he wrote all of the hits for such synthpop stars as ABC, a-ha, The Cure, Depeche Mode, the Eurythmics, A Flock of Seagulls, Frankie Goes to Hollywood, New Order, Pet Shop Boys, Simple Minds, Soft Cell, Spandau Ballet, Thomas Dolby, the Thompson Twins, Ultravox and many more.

The mid-80’s also saw an international musical movement known as the “New Wave of British Heavy Metal”, where hard rock musicians from the U.K., infused the sound of heavy metal with the intensity of punk rock to produce fast, aggressive songs.

Two British heavy metal bands of the time, Def Leppard and Iron Maiden, are considered to be the most commercially successful and influential heavy metal bands of all time.

For example, Def Leppards’ 1983 album, Pyromania peaked at No. 2 on the Billboard 200 chart, just behind Michael Jackson’s Thriller, and sold more than six million copies in the U.S., turning Def Leppard into superstars.

Marshall claims that he wrote Pour Some Sugar On Me as a kid and, what’s more, states that he practically IS Def Leppard, and has written all of their popular songs, songs that are still heard on the radio every day some thirty years later.

Glam Metal bands also had a run of commercial success with Bon Jovi’s 1986 album Slippery When Wet topping the Billboard 200 and spending eight non-consecutive weeks there.

The single You Give Love a Bad Name, reached No.1 on the U.S. Billboard Hot 100 to become the band’s first number one hit.

Another successful group from that era was Guns N’ Roses who released the best-selling debut of all time, Appetite For Destruction, producing three top 10 hits including the No.1 Sweet Child O’ Mine, while Poison’s 1988 album Open Up and Say…Ahh! hit single Every Rose Has Its’ Thorn, sold eight million copies worldwide.

According to Marshall, he wrote all of those songs, while a trapped, scared teenager, yes, all of them…

The 80’s also saw a huge interest in heavy metal music, which Marshall says that he used to express his fury and rage at being caged at the cloning center, tortured nightly for new songs.

He says that his songs launched the successful careers of Metallica, Megadeth, Anthrax, Slayer, Queensryche, Quiet Riot, Cinderella, Twisted Sister and many more.

Marshall’s music also revived the sagging careers of established hard rocks bands such as Aerosmith, Alice Cooper, KISS, Black Sabbath, Scorpions and Whitesnake.

Over the years, Marshall claims to have provided songs for many heavy metal bands, such as Avenged Sevenfold, Motorhead, Disturbed, Lamb of God, System of a Down, Godsmack, Killswitch Engage, Tool, A Perfect Circle, Korn, Drowning Pool, White Zombie, Skid Row, Suicidal Tendencies, Linkin Park and many others.

The end of the 80’s saw the gradual decline of glam metal and the emergence of a completely new sound that came to be known as “Grunge”.

Originating in the city of Seattle’s active music scene, local guitarists fused elements of hardcore punk with heavy metal to create something raw and powerful, with lyrics that often spoke of social alienation, apathy, confinement and a desire for freedom.

By the early 1990’s, the music’s popularity had spread, with grunge acts performing in California and other parts of the U.S., building a strong following and leading to groups signing major record deals.

However, while professional scouts for the Illuminati-backed record labels signed many promising bands from the Pacific Northwest, they would still need those chart-topping hits to sweep the country and catch the attention of the mainstream consumer.

Marshall tells us that he was just a teenager when he met members from many grunge bands at the cloning center, where he wrote the signature hits for bands such as Pearl Jam, Alice in Chains, Soundgarden, Hole, and Stone Temple Pilots among others.

What’s more, Marshall says that he IS Nirvana, having written every one of their songs, even providing the name for the band.

While the late Nirvana frontman Kurt Cobain had a compelling voice and stage presence, Marshall says it’s really him you’re listening to, in every song.

He explains that musicians like Cobain, despite their reputation as songwriters, are more like performers that play music.

And while Cobain might have had the talent necessary to propel him to stardom, make no mistake, he got there on the strength of Marshall’s songs.

Marshall continued to provide the tunes for many alternative rock bands, such as Jane’s Addiction, the Red Hot Chili Peppers, Radiohead, R.E.M., The Smashing Pumpkins, Bush, Candlebox, Creed, Nickleback, 3 Doors Down, Silverchair, Beck, Counting Crows, Soul Asylum, Cake, Garbage, Rage Against the Machine and a decade later for bands such as No Doubt, Paramore, Train, and Imagine Dragons.

Marshall even supplied the music for Britpop groups such as Oasis, Muse, and Coldplay as well as the post-punk sounds of The White Stripes, The Killers, Green Day, and The Offspring.

Marshall maintains that many musicians secretly try to recognize his uncredited contributions to their successful careers.

He explains that the Foo Fighters’ 1998 hit single My Hero is not a tribute to “everyday, ordinary heroes” as former Nirvana drummer/Foo Fighers‘ frontman Dave Grohl states.

Instead, Marshall says that Grohl wrote the song about him and that he provided songs for both Nirvana and the Foo Fighters.

Marshall also claims to have written many songs for U.K.’s britpop group, Oasis.

He says that Noel Gallagher is mean, and he had to laugh about the time that Gallagher famously criticized the work of Phil Collins, whose mega-hits dominated the music charts in the 80’s, calling Collin’s music “boring”, saying that it was “time for some real lads to get up there and take charge”.

Gallagher’s comment is especially ironic considering Marshall wrote all of Oasis’s best tunes and, incidentally, all of Collin’s biggest hits, as well.

Marshall says many singer-songwriters take credit for songs he wrote specifically for them, such as Mariah Carey, Adele, Norah Jones, Dido, Sarah McLachlin, Alanis Morrissette, Fiona Apple, Jewel, Natalie Merchant, Alicia Keys and Taylor Swift.

These so-called singer-songwriters are actually singing his songs, using his words, sharing his message.

Marshall claims that the Illuminati will recruit those of interest, and then bring them to the cloning center to meet him, so he can turn them into stars.

All they need to do is to find the performers, those with the right look and sound, while Marshall supplies the rest.

Marshall’s music launched the careers of such megastars as Mariah Carey, Janet Jackson, Britney Spears, Christina Aguilera, Justin Timberlake, Beyonce, Lady Gaga, Katy Perry, Taylor Swift, Justin Bieber, Rihanna, Adele, Usher, Pink, The Black Eyed Peas, Selena Gomez, Carly Rae Jepsen, Kelly Clarkson, Kesha, Avril Lavigne, Enrique Iglesias, Lana Del Rey, Bruno Mars and on and on.

Marshall says he’s written many of Britney Spear’s hits from the beginning, including her 1998 debut single Baby One More Time which became one of the best-selling singles of all time, reaching No.1 in every country around the world.

Marshall explains that the lyrics are not about the feelings of a young girl after a break-up with her boyfriend, but instead refer to the constant threat of punishment Marshall faces should he not produce successful songs… hit me, baby, one more time…  indeed.

Over time, the Illuminati-backed music industry insiders became so confident that Marshall’s music could turn virtually anyone into a star, that they began to bring more and more to the cloning center to meet him.

Take, for example, international pop superstar, Lady Gaga, whose 2008 debut album, The Fame was a critical and commercial success around the world with its’ chart-topping singles Just Dance and Poker Face.

She followed that in 2009 with an extended play (EP) The Fame Monster, with its successful singles, Bad Romance, Telephone and Alejandro.

Her second full-length album Born This Way, released in 2011, sold over one million copies in its’ first week, topping the charts in more than 20 countries, with its’ No. 1 single Born This Way.

Despite her reputation as a songwriter, Marshall says he wrote every one of Lady Gaga’s songs from the beginning of her career. He says that all she brought was her arty costumes and hairstyles; Marshall supplied all the rest.

The same can be said for multi-Grammy Award winning singer-songwriter, Rihanna.

Marshall says he can remember when he first met Rihanna at the cloning center, fresh from the island of Barbados, eager to do whatever it took for fame and fortune.

Marshall claims to have written all of her hit singles, such as Umbrella, Take A Bow, Disturbia and Diamonds.

With sales exceeding 200 million records sold worldwide, Rihanna became one of the best-selling artists of all time, with 14 number one singles on the Billboard Hot 100.

Rihanna must have made many influential friends there, because Marshall says that, for a time, they just kept giving her every song he wrote, one after another.

Marshall explains that while some are brought to the cloning center to meet him, others have attended since childhood, as members of  privileged Illuminati families.

He says they were selected as kids to be the next big thing, with their success guaranteed.

Even though these “cloner-kids” create fake bios filled with stories of how they struggled until they were discovered singing at local county fairs and coffee shops… don’t fall for it, says Marshall.

Truth is, they were favored from childhood to be big stars, as a reward to their Illuminati parents for years of faithful service.

Whether it’s pop, country, hard rock, heavy metal, electronica, hip hop, rap … you name it. Marshall simply writes the music that sells.

Marshall says that he’s known underground as the Rainman because of the untold millions of dollars his music pours into profits worldwide.

And as for that other Rainman, legendary rapper Marshall Mathers…?

Well, let’s just pretend he never picked up a pen… for according to Marshall, he is Eminem and has written all the rapper’s songs.

Marshall tells us that Eminem was promoted by the Illuminati in the late 90’s as a way to introduce black rap music to middle-class white kids across the country, which was then a lucrative, underdeveloped market.

Marshall says that at first he was writing songs for Miami-born white rapper, Vanilla Ice, who, with his 1990 hit single Ice Ice Baby became the second white rapper in history to top the charts.

His debut album To The Extreme, became the fastest selling hip hop album of all time, spending sixteen weeks at No.1 on the Billboard 200 selling over eleven million copies.

However, unlike New York white rappers the Beastie Boys, Vanilla Ice had no street credibility, and with overall negative reviews for his next two albums, interest in the rapper soon dropped.

Marshall maintains that music industry insiders were looking for a replacement for Vanilla Ice when they discovered Detroit rapper, Marshall “Eminem” Mathers, who had recently moved to Los Angeles in 1997 to compete in an annual nationwide battle rap competition.

Placing second, the Illuminati took notice and quickly recruited Mathers into their ranks, with promises of fame, fortune, and guaranteed success with the use of Marshall’s music.

Forget any official versions you’ve heard of Eminem as just another struggling young rapper pushing his demo CD before being discovered by Interscope Records founder, Jimmy Iovine and famed record producer, Dr. Dre.

Truth is, Mathers is “Illuminati made and paid”, says Marshall and adds that he’s “not the nice, cool guy everyone thinks he is”.

Thanks to Marshall, Eminem went on to become the best-selling hip hop artist of all time, with twelve No.1 singles worldwide, and eight No.1 albums on the Billboard Top 200.

In 2009, Billboard Magazine even named Eminem the “Artist of the Decade”.

Marshall says that he has written songs for many rappers such as Public Enemy, Run-D.M.C., Master P., OutKast, N.W.A., LL Cool J., MC Hammer, Snoop Dogg, Ludacris, the Fugees, Salt ‘N’ Pepa, the Beastie Boys, DMX, Jay-Z and many more.

Marshall says he even collaborated with the late rapper, Tupac Shakur, in writing his best songs.

Imagine if the public found out that their favorite ghetto anthems were actually penned by a white kid straight outta Halifax…

Marshall says that many rappers manufacture fake bios of growing up in “da ‘hood” when, in reality, they were born to lives of wealth and privilege, selected for fame from influential Illuminati families.

Marshall reports that artists like Lil’ Wayne and  Kanye West owe him a “chunk of change”, as he’s been writing most of their music since the very beginning of their careers.

For the over three decades that Marshall has claimed to been trapped at the cloning center writing music, he says that he made a “whole lot of bad people a whole lot of money”.

Marshall maintains that many at the cloning center are jealous of him and his talent for creating hit songs “outta nowhere, like magic”.

They say that it is unfair that they struggle for months to write one song with poor results, whereas Marshall can write a song in minutes that is guaranteed to sell millions of copies worldwide.

He remembers several years ago, one songwriter bragging about his big win for the “Best Record of the Year” that he won the at the Grammy Award ceremony the night before, a triumph he achieved using one of Marshall’s songs.

As the songwriter addressed the audience at the cloning center, and went on and on about his win, Marshall finally spoke up.

“Yeah,” he said, “But what did you do?”

“Well”, the songwriter quickly replied, “I play the piano…”

The crowd roared in laughter.

Marshall had made his point, although, he remembers, the songwriter punished him later for making the remark.

Marshall claims that in speaking out, he is not looking for fame or riches.

His only aim is to tell the public the truth about the top-secret human cloning that takes place in deep underground military bases around the world.

He says he will never stop
until all those trapped there
are freed and all
cloning centers are
shut down forever.

An illusion it will be, so large, so vast, it will escape their perception.

Those who will see it will be thought of as insane.

We will create separate fronts to prevent them from seeing the connection between us.

We will behave as if we are not connected, to keep the illusion alive.

Our goal will be accomplished one drop at a time so as to never bring suspicion upon ourselves.

This will also prevent them from seeing the changes as they occur.

We will always stand above the relative field of their experience, for we know the secrets of the absolute.

We will work together always and will remain bound by blood and secrecy.

Death will come to he who speaks.

We will keep their lifespan short and their minds weak, while pretending to do the opposite.

We will use our knowledge of science and technology in subtle ways so they will never see what is happening.

We will use soft metals, aging accelerators and sedatives in food and water, also in the air.

They will be blanketed by poisons every where they turn.

The soft metals will cause them to lose their minds.

We will promise to find a cure from our many fronts, yet we will feed them more poison.

The poisons will be absorbed through their skin and mouths, they will destroy their minds and reproductive systems.

From all this their children will be born dead, and we will conceal this information.

The poisons will be hidden in everything that surrounds them, in what they drink, eat, breath, and wear.

We must be ingenious in dispensing the poisons, for they can see far.

We will teach them that the poisons are good, with fun images and musical tones.

Those they look up to will help.

We will enlist them to push our poisons.

They will see our products used in film and will grow accustomed to them and will never know their true effects.

When they give birth we will inject poisons into the blood of their children and convince them it’s for their help.

We will start early on, when their minds are young, we will target their children with what children love most, sweet things.

When their teeth decay, we will fill them with metals that will kill their mind and steel their future.

When their ability to learn has been affected, we will create medicine that will make them sicker and create other diseases, for which we will create yet more medicine.

We will render them docile and weak before us with our power.

They will grow more depressed, slow and obese, and when they come to us for help, we will give them more poison.

We will focus their attention towards money and material goods so they may never connect with their inner self.

We will distract them with fornication, external pleasures, and games, so they may never be one with the oneness of it all.

Their minds will belong to us and they will do what we say.

If they refuse, we shall find ways to implement mind-altering technology into their lives.

We will use fear as our weapon.

We will establish their governments and establish opposites within.

We will own both sides.

We will always hide our objective, but carry out our plan.

They will perform the labour for us and we shall prosper from their toil.

Our families must never mix with theirs.

Our blood must be pure, always, for it is the way.

We will make them kill each other when it suits us.

We will keep them separated from the oneness by dogma and religion.

We will control all aspects of their lives and tell them what to think and how.

We will guide them kindly and gently, letting them think they are guiding themselves.

We will foment animosity among them, through our factions

There exists a semi-secret cabal of globalists bent on one world government under the United Nations, world military through expansion of NATO, World Bank/cashless currency and a micro-chipped population.

The conspirators are a group of bankers, businessmen, politicians, media owners/personalities, Illuminati families, and secret society elites. They implement their power through the vehicles of Free Masonry, the Bilderberg Group, Bohemian Grove, Skull and Bones, the Council on Foreign Relations, the Trilateral Commission, and the Committee of 300 to name just a few.

Their agenda for world governance has been known to secret society elites and Illuminati families for centuries as “The Great Work,” though nowadays it is politically referred to as “The New World Order.