!!! #TruthExcites hears about the worsening INDOCTRINATION in London’s elite schools, that CENSORS WORDS and CHOKES THOUGHT !!!

A London mother of two, originally from Peru, has spoken to #TruthExcites about a recent intensification of teachers’ classroom bias — and that in the supposedly excellent private sector.

Her elder daughter — now an upper sixth-former, who we will call Melissa — used to go to a North London co-ed. There, the issue of #ManMadeClimateChange was presented as fact, with no debate allowed.

The only guest speakers invited to discuss the subject were climate change alarmists (as well as pro-EU advocates), in another sorry instance of the hideous imbalance at the heart of the education establishment: a foundation for the mind that no-platforms views it dislikes.

Since she was studying politics, Melissa wished to speak about Brexit — and, in a brazen attack on free speech, was given a list of words that were forbidden: an Orwellian insult to any school’s supposedly educational duty.

News stories, provided for students by staff, invariably came from the Leftist Guardian and Independent, strongly encouraging bias — even though other sources were permitted.

“It’s like the whole world is The Guardian — that’s it!”, said Melissa.


Her mother removed her from the unbearable bias, sending her to another, this time West London, school, to escape the censorship of free speech. Disgracefully, she was a Western refugee from thought-dictatorship, such was the counterproductive reward for the school’s client students — provided by supposed professionals and at considerable expense.

In her new school, views amongst the staff varied, but students were free to debate and have their own ideas — surely an essential for any place of learning and exploring!


Everything changed this year.

A new English teacher twisted feminism to a toxic cult, brainwashing the girls. Melissa’s year-younger sister — whom we will call Cristina — came home crying, after her first day.

She felt put off English.


The teacher in question — whose job was to open minds, and help students find themselves in the context of her subject — introduced herself as a hardcore feminist, thus trammelling them — from the outset — with the most aggressive tone possible.

In a discussion of authors, she said that Charles Dickens had been ‘the only good white man’. If an equivalent sentiment had been applied to black people, she would surely have been sacked.

She continued that ‘every book was about sex or death’, and repeated the disturbing mantra when Cristina wanted to explore romanticism — all this at a time of grave public concern regarding suicide websites, and the sharing of dangerous emo-cults on Instagram.

!!! #FakeMatrix !!!

#TruthExcites deplores the hijacking of mind-inspiring education by Leftist dogma.

The rot is from the top, with both publishing giant #PearsonLongmann, and exam boards, integrating the #ClimateCO2N and other political slants across the system, from the viewpoint of different subjects in the syllabus.

This is a #DarkWeb of false cross references, confusing and manipulating young minds.

It is a governmental and corporate assault on consciousness — and a true threat to human wellbeing and progress. Luckily, while lies need to be faked from every angle — in a warped, cosmic film set — the truth just needs revelation.

Let’s make it available to all, as soon as we can!


Thankyou Sun, for shining heat and light and fun for so, so long:
you cooked the street’s pneumatic beat;
you blessed the coke, and loved the throng!
you scorched Ibiza’s nineties decks,
as Twentieth Century lovers kissed:
the planet’s pulse at solar max,
on febrile, shimmering, sultry mist.

Such galactic nuclear power –
which breathes the oak
from seed to tower –
doesn’t know or give a toss
what Al Gore says our fuel should cost.

Twentieth Century ice was melted
by the hyperactive sun:
not us, nor cars, nor gas emitted,
nor by Bernie Ecclestone!

CO2 can’t warm the air –
and blaming it just isn’t fair!
Released by cars and warm conditions,
levels grow with each ignition,
up and up – while temps now fall,
as brilliant Helios sets to stall.

As the fiery orb gets bored,
turns down its dial,
and chills a while,
the Earth cools, too:
its glaciers grow,
and blizzards blow –
through schools of fools,
who sit and chat about the heat –
numbed to thought by group-deceit,
as fatal frost
now scores new veins through glass and ice,
confounding myths of sweaty vice.

1645 was cold,
when shivers froze
the floods of old!
Decades died and winters grew,
with sunspots gone and summers, too;

The Bank of Engand crept to life,
in frozen 1690s strife.
Now, round they come, untamed, again:
dank, summer lows and light-whirred snow.

“You’re all to blame”, shout Warmist priests.
“We warned you of the Sooty Beast:
Until we steam in Hell (as planned)
Your life is cold — for summer’s damned!”

“…But this cold snap is just a trap,
while the arctic leaves the map —
melting into murky depths,
thus cooling flows that warmed the West:
changing weather patterns fast,
so ‘barbE’ summers never last!”

“You must”, they say, “pay carbon dues,
and sponsor windmills, built on cue —
for now, the answer’s blowing in”,
(as birds are smashed by blades that spin):
power comes from ghostly towers —
unless it’s calm for several hours,
while UNocrats debate the fate
of the world they didn’t make —

“whatever happens, it’s CO2:
it’s from your car — and so from you!”
They want your taxes — and your fear:
more and more of them, each year.
They’ve spun a yarn of humid sweat,
inflaming guilt and wretched sorrow.
“Now? The freeze — but soon the heat,
coming: ‘The Day After Tomorrow’…”

We knew extremist vicars quit
when they outlawed burning witches;
now coal exorcists get hits
with oppressive science fiction.

Ignore their hogwash and rejoice!
We’re Walking on the Earth tonight!
See history made, as ‘Arctic blasts’
whisper bicentennial flight,
of Nordic flakes, to drifts that last,
like myriad sparkling Christmas lights;
which lift the soul,
to twist and soar
through Solar Cycle Twenty Four;
which fly the flag for windblown white —
and heated soup and howling nights!

The Sun will chill for many years —
half a lifetime, it appears!

So sod the cheats who want your cash
to fund their G8 climate bash —
their pamplets as from brothers grim:
fraud, through fantasies of sin,
from Western witchdoctors,
who need
to blackmail people to succeed;
who yearn
to make us all believe
in blame and debt, and more regret —
that we be cowed
to pay and bow:
and never try to fathom how
a gas which once ruled frozen Earth
can now purvey a steaming curse:

or how the jetstream’s winding path —
that freezes Greece with Finland’s laugh,
as geomagnetised bends twist
from solar slumber’s cosmic waves,
and stoop 3,000 miles to kiss
Alaskan Frost to Everglades —
can vindicate said Man Made Warming,
when its models need stream flat
and pole-shifted, sliding storming
winds, from tropics, to cold lats;

in imagined, bake-faked scam,
that moves sea-lows a country North,
so counter-clockwise cyclone strands
the ‘Eastern Beasts’ on Arctic course —
and Europe sweats in Irish sauna,
West wind-washed, from system’s base:
drowning Christmas crystals, born to
sharpen land with frozen lace —

Yet even as the BEEB’s false heads
still blackmail joy with vulpine cries,
storm-lows are whipping South instead,
their East wind wake inviting glide
of feathered, Baltic gems that watch
the streets that, long, knew only damp,
which stamped the sleet to road-stained blotch,
and soaked, to dark, night’s moon-flaked lamp —
yet, frigid, marvelling, now inhale
the breath of Beast, as stir of white:
a silent cold that, vacuum-baled,
petrifies the coast with light —
whose herald-flakes skirt gravity,
and dance, as wind-larks of the morning:
crystal witnesses, that free
world consciousness, that cold is dawning;
swooping, bouncing,
soaring up,
as ghosts that hang in causal still;
Siberian dry, that lies, uncut,
in easy, fractal proof of chill,
as visitors from Starjik’s slopes,
whose flux is orchestra of truth,
and drawn, thus, West, by vacuum volts,
of #MiniIceAge patterns’ proof.

Showered with sparks of cold-lit ground,
a small ice-age is free — unbound!
So tighten walks with wind-rapped layers,
and dance with huskies’ bright eyed runs!
Diamond mist, for years, will flare
with frigid holograms of fun!

We’ll rejoice in Helios’ lore,
and surf the snow, and live the show,
of Solar Cycle Twenty Four —
go go go GO !!!

Copyright Jonathan Graham, 2018


!!! #TotalEclipseOfTheTruth !!!

Britain’s August and September have played out WeatherAction’s and Piers Corbyn’s global cooling forecast to the letter, with unusually deep summer low pressures, followed by mid-August ‘October murk’, before significant, early September chill, as the #MiniIceAge circulation pattern intensifies, in tandem with the building #GrandSolarMinimum, seismic activity rise and cosmic ray increase.


But, with the false narrative of #ManMadeGlobalWarming threatened, the mainstream media and especially BBC have launched a propaganda overkill, attempting to entrench belief in, and even dependence on, the #ClimateCO2N in different sections of society.

!!! #TwistAndShout !!!

With decades of icecap melt deadlines missed, a freezing Greenland, and the model-busting bent jetstream’s polar vortices in both hemispheres, they are working very hard.

They have courted farmers to make them believe that energy taxes can safeguard their livelihoods against extreme weather and flooding. During the forthcoming natural cooling, these will be inevitable — as will severe frost and snow.

Fake-green fuel inflation — Ed Milliband’s introduction under Gordon Brown, when the BBC banned #ClimateRealist voices — will only hurt farming, and all industry.

!!! #StealingSunshine !!!

But, worse still, the rogue control of false guilt and fear hurts humanity: in making hot weather evidence of sin, it steals sunshine; in making successful energy conversion to societally useful forms, it steals money.

In predicting the end of snow — laughably enough — it threatens the wonder of the child, hoping emotional blackmail will trump reason.

!!! #DoomBoom !!!

Alarmists believe their white lies — all the way to #BakeFakers NASA and NOAA’s own data alterations, to cool the past and warm the present — are licensed by their wealth redistribution aim.

That sense of missionary justification for globalist control of life is terrifying — especially when combined with the power and money of George Soros, #BigOil and #BigGreen; with the sociopathic zealotry of #ExtinctionRebellion’s Roger Hallam — and the integrated global reach of the banking system-linked UN.

The current media #DoomBoom is great news for reason and freedom. 

It shows that alarmists are losing — and that they know that.


To keep freedom and understanding growing, we can shine and share the truth, ever more widely: until the redacted shadows of establishment lies are a discordant irrelevance — and consciousness becomes a web of light, not a labyrinth of dark.

So come and join Piers Corbyn’s own #WeatherAction, along with #TruthExcites, at Westminster Bridge, London, on Friday 20th Sept (this week) for the #Action4Life celebration.

Like Katrina and the Waves, we will shine a light!

!!! #TrojanhorSe !!!

#HellFireGreens’ app wants to access your mind.

The Globalist UN is attaching its energy- and money-controlling #ClimateCO2N to local issues in order to make its cause more popular. 

A recent example is the supposed grass-roots demonstration in historic Venice about the its coastline’s vulnerability to rising seas, when seas have been falling for several years, as the world stars to cool from its 1998 heat peak to a #GrandSolarMinimum. 

!!! #DiddledBritain !!!

As the early #GrandSolarMinimum changes weather patterns and cools the world, the media establishment, and notably the BBC, are doubling down on the #ClimateCO2N — and targeting middle England; the home of robust conservative thought, which they want to change and fit to the schemes of #BigGreen. 

So The Archers, Radio 4’s rural soap opera, adopts sustainability-based stories (farms competing for environmental grants) that reference #ManMadeClimateChange, and the supposed need to reduce carbon emissions, as givens — without even questioning their relevance, or exploring the sun’s rôle in driving climate. 

By making them background assumptions, do the BBC hope that belief will be entrenched more and questioned less? 

Similarly, August’s week-long focus on farming seemed to seek to integrate farming practice with #ClimateCO2NSTER plans, by making farmers believe that it will help them through flood risk prevention. This is despite deep summer low pressures and amplified storms having been predicted by honest scientists as the results of a #SolarMinimum-weakened planetary magnetic field, that exposes us more to solar winds — and a magnetically bent jet stream.


Mainstream media’s acting on a basic motivation to establish an immersive network of mutually supportive falsehoods — adaptable with time to remain an unchallenged source of revenue for the #FakeGreen religion — is supported by its approach to Donald Trump’s climate realism. 

Mainstream media used this as a headline objection to him. This made both #ManMadeClimateChange and scepticism thereof topical. 

But, given such a ripe and topical subject for exciting debate, with all its links to a controversial President, they chose to ignore it. 

The supposedly impartial BBC has not investigated the matter from any angle but the alarmist one. Nor has it investigated #ClimateRealist scientists and the main blogs that promote such views.

We would love them to tell us why!


And, while they are thinking, another Warmist ‘documentary-crew ship’ gets stuck in the ice — and the #ClimateCO2N remains, as ever, bad AND mad. 

But, as this #ShipOfFools get frozen stiff — by the ice they said had melted — let the people be wise; and strong enough to protest, rather than acquiesce to unchallenged UN and NGO theft of energy, money and happiness: the real sin.



As its blind emotional bias trampled on its corrupt self-interest, the Leftist US mainstream media gave Candidate Donald Trump squillions of dollarsworth in free PR — just by attacking the popular and true sentiments he expressed.

The British Parliament’s legally naïve and democratically cynical attack on #Brexit and @BorisJohnson has been televised, live, before the nation, this week. It has laid bare to the public the motivation of #Remainer politicians to avoid Brexit at all costs — including by trying to synthesise legal small print.

Then, having tried thus to by-pass both the spirit and the letter of the #LeaveVote, #Remainers urge respect for the spirit of THEIR leaking legal roadblock — ‘Parliament’s will’ — presumably due to its legislative inadequacy.

This open assault on democracy not only shows their unworthiness for office, with an election likely soon, but also their attempt to undo the whole principle of a referendum, which gives people a direct choice, bypassing elected parliament.

The people chose — and chose #Brexit.


#BorisGoesWilde — and so do Brits!

After decades of professional Leftists’ bourgeois guilt, and its rhetoric’s heavy emptiness, @BorisJohnson ROCKED British Parliament on Monday night, as his cutting wit saved freedom, exposing #Remainer hypocrisy, dishonesty and weakness.

His elegant, agile logic was funny because it was true, in its furtherance of a genuine Brexit. 

As he spoke, Boris Johnson was a government incarnation of the spirit of individual thought and expression: the spirit that built America — and now fires Brexit.

!!! ULTRAVOX !!!

Conservative intellectual and Oxford University fellow, John Redwood, asserts that the law with which Parliament is seeking to block a #NoDeal Brexit is ‘an unusual law, seeking to control the conduct of the Prime Minister in an international negotiation. It is not a criminal law creating a new crime. There are no proposed penalties, fines or prison sentences in it, should the PM not obey it.’

Mr Redwood continues that ‘it is not a general law applying equally to all of us — nor even a law always applying to government. It is a Parliamentary instruction or political opinion, on one issue, at one time, passed as a law.’

He might have added that Brexit’s being due on the 31 October — with no deal if necessary — is law, and is not overridden by any element of the supposed #NoDeal block, given Royal assent on Monday 9 September.

With all this in mind, Brexit #VoxPop flies higher!

We see the letter of the law ready to carry the spirit of democracy to #NoDeal #Freedom: reclaiming Britain’s sovereign law-making, trade independence and migration control — despite Parliament’s legally empty assault.

Finally, ideologically structured mission, and human ingenuity, are trumping the semi-conscious machine of consensus politics — and its terrifyingly manipulable blindness.


Britain’s BBC News Channel ran an an echoing loop of calculated global warming doom throughout the day on Thursday, reporting — with uncritical reverence — the lastest UN Climate Change report.

The alternation of this top-of-the-hour melodrama with weather forecasts showing a deep summer low pressure centered 100s of miles further south than is usual in August, and dragging Autumnally cool East winds across the country, brought hollow irony in the form of a #GrandSolarMinimum circulation pattern, confirming the #ClimateCO2N-busting predictions of #ClimateRealist forecaster Piers Corbyn, whose long term call of a #MiniIceAge gets truer with every polar vortex, vindicating Trump’s courageous and economy-saving stance in the process.

The true money-manipulating, energy-controlling motivation behind promotion of man-made global warming lay manifest in plain sight, as the UN’s talking heads recommend the developed world reduce energy and meat consumption — their disingenuous aim throughout decades of contradictory predictions and missed ice melt deadlines, such as this one from 2007 http://news.bbc.co.uk/1/hi/sci/tech/7139797.stm


David Place’s third studio album, ‘Rollercoaster’, is out — complete with the title track, and its music video, discussed below. Speaking to TruthExcites.com, David explains how life and being lost have forged his romantic, immersive art, through a compulsive explorer’s restless liberation.

Celluloid shadows float us behind memory, from footage found online: a reminder of the web’s influential energetic creation of consciousness-centres from connections; as predicted by George Tesla, whose birthday fell earlier this month, in his prescient anticipation of a cyber Jungian universe.

The track is ‘Rollercoaster’, and the video draws us up to a skylight of nostalgia. A backview of guitar-playing frontman, David, invites us to share his music-borne feelings. We ride the rollercoaster’s rickety lift beyond gravity, to a stone-grey, imbued with hot brightness by clear shadows in dimmed frames. This is the primordial playground lived by his daughter, Emily, as she makes a model rollercoaster from coloured bricks — ‘red, blue and grey’; wielding and feeling shape, colour and styling: the physical detail that charges structures with their form’s emotion, and a gallery of the imagined, which — like twilight bedroom curtains — awaits the artist and the dreamer with nightmares, bliss and beauty.

Observed not experienced, Emily’s hyper-reality shimmers on the fanfare of her senses, and David’s dreams. It is a euphoric monochrome, its colour drained by time’s and viewpoint’s displacement. A French levity skips through simple frames with halcyon grace — the font of the descant of cooling notes that twinkle in a street’s noon, and voice its dappled life.

The rollercoaster alternates with the grey sunshine of the band in a garden: blending, visually, with the utopian fairground, and its impossibly generic joy, and keeping prominent the process of observation, and the empathic voltage between dreamer and dream — a gap spanned by this song.

‘I used to see her in the morning … with the blocks red, blue and grey’

Pre-vocals, a chill trumpet-lullaby hints at seaside puppet tragedy in its mellow querulousness, through which David’s voice then walks, thinking aloud; the more resonant for its unstylised spontaneity, in a movingly bare revelation of new fatherhood’s enhanced insight, his words passengers on melody. Repetition of ‘rollercoaster’ chants gentle enlightenment; percussion-teased along trammels, and immersed in the trumpets’ rising sea which — like all sound, as opposed to point-source light — envelops us profoundly from all sides. The trumpet, in particular, echoes his Bari neighbours’ Sunday morning soundtrack, which serenaded his new life there.


We are sitting on a small balcony, late on a Saturday morning, having just drunk some perfectly prepared, cap-insulated coffees, conjured from the empty reception area of his ‘Olive Tree’ hostel. It is a few hours before the weekend check-in rush, yet he is relaxed and gives his all to the questions.

When did he start playing the guitar?

He tells me, to my surprise, that he was 23. At home in Australia, his teenage younger brother had been the musician, leaving David to express himself through football.

Did that play a part in motivating him?

“Yes”, he says. “I envied my brother — I envied the fact that he could sing …”

Coming to Europe gave David the creative privacy to make music his language, too — ‘locked in his London room’. Perhaps it emerged from the same sensibility that made angles and spaces in soccer, through ratio, dissonance and consonance?

Does this, third album have a theme?

He explains that it is simply autobiographical. 6 years in the making, it is an expressive interpretation of his life’s progress in the round, not seen through an isolated element.

“I tend to write a lot about depression and addiction … I have suffered both.”

Springing from that dark emotional reservoir must have made for a rich ascension: replacing black lethargy, and introverted quickfix-craving, with an equally compulsive — yet opposite — quest to explore, understand, and create anew — from the energy within.

The album — of which ‘Rollercoaster’ is the title track — is diverse. It features banjo jazz in places, and is largely without electric guitar, apart from ‘Roundhouse Blues’ (his favourite). It comprises the best — and so perhaps the most deeply felt and story-relevant? — songs of this transition; from London’s deep concrete and its spherical thought-freedom, to the demanding summer-strobe of establishing, and multi-tasking in, his own hostel — nearly every day.


After a while he ‘can’t listen to the music that he has written and produced’. Old imperfections irritate his progress-hungry drive; and even more, like Soul Asylum’s poignant and ultimately exploratory ‘Runaway Train’, he needs novelty. Curiosity is fuel amidst the joy of controllably navigable adventure — a heady post-perdition philip.

Like the track ‘Rollercoaster’, the nostalgia of which was refracted from new life, David’s song is borne of listening, not dreaming: of exploring experiment, rather than theory. Perhaps listening’s attendant empathy — discernible in his ego-free openness which sought to acquire, and not dismiss, his brother’s musical language — fuses creativity with the giving inherent in his hospitality business?

His easily dovetailing subconscious and conscious minds not only juggle incoming ideas with daily business, but also promote his music efficiently — letting those ideas rise for the world. His hard graft in online genre-matching draws hundreds of YouTube clicks per day for ‘Rollercoaster’ alone.

!!! WHAT NEXT ???

A constant flow of gigs will make way for a tour of Europe next summer, playing with his valued bandmates: double bassist, Umberto Calentini and guitarist, bassist and percussionist, as well as producer, Tullio Ciriello.

As regards new music genres, he is open to exploring everything with emotional resonance — ‘anything that can evoke’. He will promote ‘Rollercoaster’ as much as possible, helped by a publicist friend.

Despite love of experiment, he still ‘tends towards the sad song’. His tour partner from some UK concerts last year praised his true gift for melancholia, yet suggested he could ‘cheer up’!

“ ‘Lost’ and ‘Roundhouse Blues’ (his favourite) are both perfect examples of my being a loner, and trying to find myself”, he affirms.

“Every three or four months, I try to find new music — my tastes change”.

His use of ‘find’ instead of ‘create’ again suggests a live explorer, who, having found himself, now interprets the world — at the instant of discovery.

Have there ever been any random things that have inspired him?

He describes meeting a New Zealander, on a Conticky Tour around Europe. Repeated group requests to play ended up outing a spectacular, yet relaxedly self-effacing and human talent, which inspired and encouraged, deeply.

“He was a big motivation”, continues David, who prizes modesty and humility as well as artistry. Is that humility liberating, removing the ego’s display-pressure, and enhancing outward vision?


The authenticity of ‘Rollercoaster’ makes it beyond genre.

The focus on selfless parental love, in a sector of music where romantic love often dominates, reminds me of the shear emotion of melodic rocker Kim Wilde’s 1988 ‘You Came’ dedication to her niece. 

The tint of halcyon-playground construction-in-the-sky reminds me of the fine art film ‘Spiral Jetty’, documenting Robert Smithson’s 1970 earthwork sculpture in Utah’s Great Salt Lake, where a summer’s day, and humming camera-plane, are heat-dazzled witnesses to a semi-unseen superstructure.

Life is both questing David’s music source, and the context that blows it to us — upstream, through a chain of sight, as we watch him observing his offspring, through the vintage shade that invites extrapolation — and adventure.

As George Tesla would have noted, his only way is forward.