In my recent piece You Really Don’t Want To Be Famous, I mentioned the fact that Leonard Cohen was an Illuminati Secret Agent.
https://jamesdelingpole.locals.com/upost/6953961/you-really-dont-want-to-be-famous
No one in the comments thus far sounds particularly surprised, so I’m assuming that the information must be common knowledge, at least among my discerning readership.
But if you don't mind, I’d like briefly to enlarge on this subject because I don’t think it’s of negligible significance. Perhaps I should have done this in the original piece but I thought it had gone on quite long enough and that it was already filled with sufficient Ferrero Rocher treatlets for one article.
I mentioned that I originally got my information on Cohen from a 2015 article on the Henry Makow website. The bit that especially piqued my interest was the remark in the comments from someone called Dan. It was referring to the cover of Cohen’s 1992 album The Future which depicted a hummingbird rising up from a black and blue heart. Below it are some open handcuffs.
Here is the comment:
The hummingbird and handcuffs on the album jacket of 'The Future' always made me think of this passage from the novel 'Cockpit' by another mysterious fellow, Jerzy Kosinski.
"I was one of the specially trained groups of agents called "the hummingbirds". The men and women of this group are so valuable that to protect their covers no central file is kept on them and their identities are seldom divulged to other agents. Most hummingbirds remain on assignment as long as they lead active cover lives, usually as high-ranking government officials, military or cultural officials based in foreign countries. Others serve as businessmen, scientists, editors, writers and artists. But I always used to wonder what would happen if a hummingbird vanished, leaving no proof..."
[Jerzy Kosiński was a Polish-American author who, if we are to believe Wikipedia, had sold an estimated 70 million books by 1991. His most famous novel, The Painted Bird, was ‘for many years regarded as an essential part of the literary Holocaust canon’ because - spiced up with rape, bestiality, etc - it was widely thought to be a lightly fictionalised account of his genuine experiences as a Jew in wartime Eastern Europe. It fell out of fashion when it was exposed as completely made up. Kosinski and his family had spent the war years hiding with a Polish Catholic family who had sheltered them from the Germans and he had never been mistreated. He was also revealed to be a plagiarist]
They have to tell us, don’t They?
My instincts, at any rate, tell me that these ‘hummingbirds’ are not a literary invention but a genuine thing. Readers with time on their hands might find it amusing to speculate on which other characters in the public eye - businessmen, scientists, editors, writers and artists - are deep cover Illuminati agents. Is Russell Brand too obvious a choice? What about Sacha Baron Cohen, aka Borat?
I think the case of Leonard Cohen lays to rest a claim commonly made by sceptical Normies: that the notion of a Grand Universal Conspiracy is preposterous because no group of people, however rich, powerful and devious, could micromanage a plot on such a scale.
The life and career of Leonard Cohen proves that They can by illustrating both their extraordinary attention to detail and their ability to get things done.
Cohen was as manufactured as Backstreet Boys, Take That, or One Direction. The difference is that Cohen was manufactured as a star not in the notoriously synthetic realm of boy band pop music but into areas - first poetry, then folk music, then coffee table, lightly arty mood music for grown ups - where authenticity is supposed to be everything. And They did it so well that for years, no one rumbled him.
Really this ought not to be a surprise to anyone who has read David McGowan’s Weird Scenes Inside The Canyon about how the CIA et al effectively invented all your favourite late Sixties anthems from For What It’s Worth to Monday Monday. Nor to anyone familiar with Sage of Quay’s deep dives into the true history of Tavistock Institute creations The Beatles.
But it often does surprise us because even those of us who ought to know better can rarely wholly free themselves from the influence of a lifetime’s programming. If you’re an old hippy who spent your late teenage years skinning up on your cherished, dogeared copy of Songs for Leonard Cohen, or you still fondly remember the driving Eighties synth beats and cool female backing vocals on First We Take Manhattan or you’ve ever enjoyed one of the umpteen cover versions of his (overrated)Hallelujah, it’s quite hard simultaneously to hold in your nostalgia-warped brain the concept that this guy was a fraud, a fake, and a liar who hated you and wanted to destroy everything you held dear.
That’s why people like Leonard Cohen - and the people who create and control characters like Leonard Cohen - still rule the world. Because they’ve had millennia of practice and they’re really good at it.
And when I say millennia I do mean millennia.
Here, by way of a parting titbit, is another intriguing comment from that Henry Makow article.
According to Rothschilds own biography "Prophets of Money, chapter: a royal Caucasian family" it is said that they are really proud of having married into THE Cohen family. Who are THE Cohen versus the masses of ordinary Cohens? THE Cohens can trace their ancestry back to Babylon!!! There is refrain of a Cohen song: and I belong at last to Babylon....
I think it refers to the Niall Ferguson’s 1998 authorised biography whose correct title is The House of Rothschild: Volume 1; Money’s Prophets. Perhaps someone who has access to a copy might care to verify if this reference is correct. Huge if true: an Illuminati bloodline so august and ancient that even the Rothschilds stand in awe…