The announcement in the Thriller video was that a legion of ghouls had emerged from Hell to dance with Michael Jackson and turn his career into a legend incomparable.

While his publicists later denied any putative links with the occult, not everybody missed the proclamation made in a boy-loves-girl situation in the early moments of the video. There he tells this girl: "I'm not like other guys. I'm different."

And the difference emerges still in the words of You're Just Another Part Of Me from the Bad album: "We're takin' over, We have the truth, This is the mission, To see it through. Don't point your finger, Not dangerous, This is our planet, You're one of us". And the refrain: "We're sendin' out, A major love, And this is our Message, message to you, The planets are linin' up, We're bringin' brighter days, They're all in line, Waitin' for you, Can't you see...? You're just another part of me..."

Planets lining up in the solar system are often seen to be omens affecting all mortals on earth. Was there something epochal that MJ was anticipating?

On April 1, 2 BC the biblical magi observed a bright star. Scholars of astronomy say Jupiter and Virgo had lined up; which occurrence was interpreted to portend the coming of a divine personality. This was linked to Jesus Christ who, scholars say was born between 4BC and 7BC.

"We're takin' over" has its mysterious undertones, knowing as we do that MJ did not have any visible or publicised links to influential political or economic groupings with global clout. Neither was he known to be part of shadowy netherworld groups whose goal is to control key nations.

Control

Who is in control? As we shall later see, the artists are not in control. Their managers, sponsors, financiers and promoters are. It is they who, tend to lure the pop artists into demonism, drug abuse, rape, paedophilia, plastic surgery and abnormal behaviour.

Little wonder almost every major artist has assaulted airport staff, police, hotel workers, lovers and so on-at times it is so advised so as to cause public shock and keep people following. There are types of music that lend musicians to such possibilities.

Demonic possession among musicians, sports people, politicians and anyone who is a massive crowd-puller is sought after or endowed. Everyone who wants to sway huge populations is vulnerable to the appeal of other worldly non-human beings that have to be encountered to be believed.

The difference between MJ and all the other guys emerges again in the video Ghosts. Written by MJ and horror novelist Stephen King, it tells of a community rising up to evict a weird man living on a scary house on a hill.

Led by their mayor, they go and try to evict him. His family of ghouls appears and they display excellent but frightful dance and routines. He eventually reveals his ghostly nature through some horrific magical acts.

In the end he destroys himself, turns into dust that is blown away by the wind. As they leave his house, he reappears at the exit. He manifests a deathly demon-head and frightens away the mayor while the crowd walks confusedly away.

Was Lucifer trying to tell the world that the thriller would never go away even after MJ's death?

Reading between the lines, it would appear MJ did get concerned about ghouls in the family tree, as in this third stanza of Ghosts:

And who gave you the right to scare my family?

And who gave you the right to scare my baby, she needs me. And who gave you the right to shake my family tree? And who gave you the right to take intrusion, to see me?

And who gave you the right to shake my family? And who gave you the right to hurt my baby, she needs me? And who gave you the right to shake my family tree? You put a knife in my back, Shot an arrow in me! Tell me are you the ghost of jealousy

A suckin' ghost of jealousy.

The movie won the Bob Fosse Award for Best Choreography in a Music Video and made a global impact with its dance moves and sounds.

Such displays amplified a ghostly image in which Michael was neither human nor spirit, neither male nor female, not young not old, far from black or white and indeed not physical but not intangible.

Off stage he was brittle and delicate, breakable and vulnerable. On stage he was fiery and at the same time papery, elastic and altogether unbelievable.

Demonic

The demonic element is not peculiar to MJ alone. While some rock groups are now into Satan-rock or voodoo-rock in which singers openly and directly promote the worship of Lucifer, many globally popular singers and musicians have been assailed or upheld by subtle spirit activity.

In some songs MJ unleashed a mix between art and death, offloading it in such popular songs as Blood on the Dance Floor and Smooth Criminal.

He liked turning himself into things, like the image of death that walks up to Pharaoh Rameses and his bride in Do You Remember The Time and disappears only to reappear as MJ.

At the end he pirouettes into gold dust, confounding the pursuing palace guard.

At the end of the Black or White video a panther walks into a back alley, turns into MJ who leaps with a furious song-less dance session that leads to MJ smashing the windscreens of a car.

After some spectacular dance moves he turns into a panther.

Several of his awesome performances had skeletons dancing on some sets.

Direct or indirect suggestions were not peculiar to Michael Jackson.

A December 2008 analysis of Rihanna's 2006 album Good Girl Gone Bad has stated that in the hit song Umbrella not merely sexual hints are thrown at the audience but she also sings of being seduced by Lucifer, raped and then possessed by him.

Importantly, the song predicted the 2008 global financial crunch.

Here are the words of rapper Jay-Z at the beginning:

No clouds in my stones; let it rain; I hydroplane in the bank, coming down with Dow Jones, when the clouds come we gone, we Rocafella, we fly higher than weather and G5s are better, you know me, an anticipation, for precipitation. Stacked chips for the rainy day, Jay, Man is back with little Ms Sunshine, Rihanna where you at?

The analysis by Vigilante says since the Dow Jones depicts the state of the stock market, its plummeting indicates a stock market crash. The reference to the bank implies that Jay-Z survives the flood in the banking system and does not drown. It is as it was trim as the John D. Rockefeller industrial dynasty has survived turbulent times.

There is a reference to US Congressman Charles A. Lindberg Snr. who declared in 1930, a year after the 1929 stock market crash: "From now on depressions will be scientifically created."

Certain historians hold that the Rockerfellers engineered the 1929 crash to get a controlling hold on the US banking system. It may well be Jay-Z and others understand this-but to predict the global crunch in a song surely is beyond the natural.

In the same album, Rihanna sings Disturbia, a song in which she speaks of a mysterious being entering into her. It makes darkness seem like light and she cries to be freed from the curse. What drives her towards such themes?

mass music

But all that you see at world level music is engineered and controlled. The Russian and British intelligence have been historically linked to trends in mass music.

In his book The Marxist Minstrels, David Noebbel outlines how Communist politicians and scientists in the Soviet Union from the 1950s experimented on the intentional use of sound distortions in music.

They aimed to create a generation of neurotic youths in America by introducing jungle noises in music.

To a great degree this paid off and the stranglehold of hidden powers on huge populations is visible.

An important example of stage-managed mega-stardom is given by author Donald Phau. In his article The Satanic Roots of Rock he writes in part:

"The 'rock stars' are also totally artificial media creations. Their public image, as well as their music, is fabricated from behind the scenes by controllers. For example, when the Beatles first arrived in the US in 1964, they were mobbed at the airport by hundreds of screaming teenage girls.

The national Press immediately announced that 'Beatlemania' had besieged the US. But the girls had all been transported from a girl's school in the Bronx, and paid for their screaming performance by the Beatles' promoters.

The money of the 1960s rock groups, which in some cases mounted to hundreds of millions of dollars, was also totally under the control of mob-connected promoters.

From 1963 to 1970, the Rolling Stones made over US$200 million, yet the group's members were all nearly bankrupt. None of them had any idea of where their money went.

Between 1963 and 1964 the Beatles and the Rolling Stones laid siege to Western European and American culture.

This two-pronged invasion from England was well-planned and well-timed.

America had just suffered the shock of the assassination of president John Kennedy, while in the streets the mass-based civil rights movement had just held a Washington, DC rally, led by Martin Luther King, of 500,000 people.

The rock counterculture would be used as a weapon to destroy such political movements.

Later in 1968 and 1969, years which saw a mass strike of students and workers in the US and Europe, huge, open-air rock concerts were used to head off the growing discontent of the population.

The rock concerts were devised as a means for mass recruitment to the drug-saturated, free-sex counterculture.

For the millions who came to these concerts, thousands of tablets of the hallucinogenic drug, LSD, were made freely available. These drugs were secretly placed in drinks, turning thousands of unsuspecting victims into raving psychotics. Many committed suicide."

David Phau names one of the major music production companies on earth as having long been a member of the British military establishment. It manufactures military electronics. A $3.16bn earner by the mid-sixties, the company is said to have created The Beatles and the myth around it.

When ordinary fans look at their gods on stage they perceive a lifestyle of colossal wealth. That wealth is a façade.

Powerful musicians like Jimmy Cliff have lamented about being ripped off. James Brown was bankrupted several times as has been Aretha Franklin.

Mobsters, gangsters, drug lords and the whole list of them control world music finances and call the shots. Once the megastar has accomplished their mission, that star is eliminated just like hired terrorists or mercenaries are.

That contributes to stressed-up stars going down the drug lane and into rehab.

Power

Do singers and musicians ever go out of their way to seek netherworld power in their music? Or do they merely sing about death and all things ghastly?

One band is Voodoo Sex Stuff who did a self-titled album in 1999, and another is the rock group Incubus (a male demon that has sex with a sleeping woman).

A New York group adopted the name Immolation, which means 'to kill or offer sacrifice.' Even the name tells.

There are stamps of authority that musicians often seek to empower their work to go beyond the ordinary levels of sales and acclaim.

Thrash rock band from Texas in the US, Rigor Mortis, formed in 1983, have sung a song Demons, declaring Satan's total hatred for people.

By the way 'rigor mortis' is the stiffening of the body when a person has died. The band promotes demonic intent to destroy.

Check this:

We come bursting through your bodies Rape your helpless soul, transform you into a creature. Merciless and cold we force you to kill your brother, eat his blood and brain shredding flesh and sucking bone till everyone's insane. We are pestilent and contaminate the world

Demonic legions prevail.

Will demons prevail over the earth? If individuals realise that demons are enemies of their souls and turn to the Only Spirit who gives life, the answer is no.

For no force is there on earth that will break their hold on people's souls; Jesus is the One who saves from them and the deathly power of sin. That is a Saviour you cannot afford to oppose.

Did MJ operate within occultic power? His penchant for horrific elements suggests that. The lesson then is that the spirit of death that singers are often driven to glorify kills them, for that is what it is.

In the 1980s, one still popular Zambian band placed posters for its shows and stipulated as follows: Grave (to mean Venue), Blood (to mean Charges). It was meant to be a joke, but it was loaded with spiritual truth.

If you go to a performance by a typical pop group you are digging your grave and dancing in its walls. If you pay to enter or buy a ticket, you have offered your blood and are giving your life away.

Singers and musicians of Zambia, let us seek musical excellence in itself without committing suicide by invoking evil spirits.

Let our music be designed to last, and to be remembered as a blessing and not a curse. Let our music uplift society towards higher things in life instead of insulting God and becoming an abomination.

Christian singers and musicians everywhere, do not ever retire from praising the Living God!