!!! #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.


By sculpting Cubism, StourSpace’s Dialogues of Space fuse audience with exhibit, in a remix of the viewing experience.

A video projection, through a hanging cascade of angles, flickers a bonfire, high to the roof’s iron canopy; warping the screen’s orthogonal truth, as interruptions stretch fixed image detail through a frozen waltz of vanishing points.

Base-pegged lightening shimmers like a volcanic graphic equaliser, burning our immersion in the part-extruded plane: the LookingGlass exhales from 2 dimensions to 2.5, and the movie joins its viewers, discussing life and dreams with them, in one, social, season-rustling kaleidoscope.

Tube lift announcements massage and amuse, as we re-live them without commuting’s sweaty fatigue. Snow scenes repeat image as medium, the snowflake-esque installation seeming to project itself, squared beyond space.

2 dimensional works continue the fractal circuit, as we hover between minds, lines, light and shadow, with depths carved from shape, with enlightening psychedelic agility.

And, for this of all exhibitions, TruthExcites.com recommends you go to tonight’s opening launch party, at StourSpace, Hackney Wick, London: only with a weekend-sized throng can electric dreams truly unite.

And only when they do can you know where they will take you!


Copyright TruthExcites.com


Barack Obama’s presidency had one truly great thing.

That was its slogan, ‘YES, WE CAN’.

Optimism, springing from our boundless potential, has run through electorally successful leaders, good and bad, from Reagan and Thatcher, through Blair and Obama, to Trump.

But are conscious free will, and its great, inherent power, easy to forget?

Can malign, even faux-optimistic authority infect us with invisible delusions: assumptions, which seem obviously true, yet which — when we look carefully — fail logic, and vanish, like a looped rope being pulled straight?

!!! DOMINOS !!!

All reality ultimately consists of chain reactions. They reach us when we see them. Research, discovery and enlightenment is retracing their history to their origin — like following starlight back to source. We then chart their journey and author.

The sound- and light-energy signals which enter our brain as our knowledge’s fabric, along with our breathing, eating and drinking, all drive our physical output of creativity and work.

We are ‘tori’ — doughnut structures, with a hole right through us (our digestive tract) which conducts energy. Being more advanced than worms, humans have multi-channel output, yet the channels still span us completely, thus fitting the flowing, processing torus model.

As Morcheeba sang, we are ‘Parts of the process’.


As tori, we are part of an evolving, source-driven universe. Another part is Planet Earth’s orbiting of the sun. We term this 940,000,000,000 metre concatenation of circle-forming positions a ‘year’. That named event then describes other causal chains, using the number of its occurrences to which they correspond.

That number is ‘age’.

Examining this carefully collapses our notion of ‘time’ to causality.


Left unconsidered, ‘age’ can seem like a ethereal background absolute, separate from the developing universe it measures, sliding us incessantly to this life’s end. Yet ‘age’ is actually just a count of the coincidences of our evolving lives with completed orbits of the sun by the Earth — something that does not effect our genuine inputs of breathing, eating, drinking and social or spiritual reception.

But merely assuming that age is our upstream controller makes our happiness depend on a planetary orbit: a parallel factor, projected onto us from a system outside our control. This makes us feel helpless — even though a second glance would tell us that it has no governance of our condition. The festival-spangled calendar’s fellowship of delusion makes acquiescence more attractive than challenge.


If we feel subtly doomed, we can lose sight of the power of our own choices.

We can forget that our condition isn’t being pulled anywhere by completed orbits of the sun: that we are not being carried by an imaginary river; but that, rather, we are a real river of causality, which we control.

We can harmonise, feed, give and ascend in causal freedom, without limit, and independently of our grounding on this plane, in the gravity-wired solar system. 

We become wise to authority’s imposition of manipulatively blinding rush, and we gain an exhausting, yet euphoric, imperative to act.

!!! YES — WE CAN !!!

Further, if we can untangle the ‘time’ construct to parallel chain reactions, so we can explore freely everywhere. Seeing the big picture doesn’t need computers, textbooks or jargon — only our minds, which can drink from multiple streams, without having to feel their way around a house blindfold, as with equations’ single lane comparison feed.


We can’t stop the Earth orbiting the sun.

We don’t need to! 

This external unstoppable doesn’t effect our health!

Why not scrap the notion of age, and swap it for an overall body condition and wellbeing index, akin to BMI? This would free us from a layer of subconscious fear: a transparent, friction-heavy film of palpable yet groundless misgiving.

The assumption of decline would be gone, replaced by attention to true condition optimisers, like diet — and by exhuberant ambition for this life and the next, whatever the nature of the causal transition.

Enlightenment’s happiness hormones boost immunity, and project our being further and better! Greater prosperity and generosity follow, with harmony-based resistance to the vampiric authority of bad governments who would farm our energy.

Myths need shadows to seem real. Debunked, the oppressive notion of age collapses before Grade 3 pupils’ knowledge of planetary orbits and parallel events.

Then, the road to nowhere stops sliding — and the American dream spreads health and civic autonomy, through wealth beyond currency: an enlightened, unlimited, comprehending connection.

Copyright, TruthExcites.com 2018


Is Justin Trudeau’s official, shabby bribery of independent Canadian media a timely wake up call to free thought and expression — and financially ill-conceived from his viewpoint?

He has launched a scheme offering extra funding to media organisations which mould their operation to gain his approval.


This comes just as the #TechLeft’s Silicon Valley, located in the communicatively free US Body Politic of the First Amendment, has created a Cyber Politic realm where its censorship applies, and which has — over the past decade — become the main debate arena.

This Cyber Politic extends around the world. A digital media platform has become an international country, with laws that wield more society-shaping power than the US government — and which wants to use them to impose its values on the public.

Moves like Trudeau’s are helping this distortion of world consciousness — and beginning to effect politics significantly, as Globalist Macron’s election in France over Marine Le Pen, and Facebook’s silencing of conservatives and Infowars, pre-midterms, showed.

But people are starting to realise what is happening.


By sponsoring those who will sell him their journalistic independence, Trudeau reduces the credibility — and thus the monetary value — of the media companies who accept his #GlobalistShilling.

With stark clarity, this attempted bribery will show the awakening public, by default, who they can trust.

To help create a #LightWeb of worldwide #FirstAmendmentFreedom, from cables and servers to searches, payment systems and content, please call TruthExcites.com on 0044 7881 954 810.