Title: “Doggs of Revelation”
[Scene opens backstage at muchmusic.org. Smoke curls through a dim greenroom as Snoop Dogg leans back in a leather chair. Across from him, G.I. Joe sits with folded arms, calm and listening.]
SNOOP DOGG:
Man, Joe… I ain’t talkin’ to Strombo or Nardwuar about this one, nah. They too cozy with the network, too scared to touch the juice.
G.I. JOE:
You talkin’ OJ again?
SNOOP DOGG:
Damn right. OJ wasn’t no villain, he was everyman—Black Homer Simpson, caught in a cartoon world of white gloves and gold chains. He ain’t know nothin’ ‘bout no Goldman Sachs, or them old brown brothers behind the banks, playin’ God in secret rooms like Eyes Wide Shut.
He ain’t know till it was too late. They set the stage, handed him the script, then flipped the lights on him.
G.I. JOE:
The trial of the century turned into a circus.
SNOOP DOGG:
Yeah, and the ringmaster wore a badge. Mark Fuhrman—KKK code in a cop uniform. That man planted poison. That’s why I say—cue it up, Joe.
G.I. JOE:
Cue what?
SNOOP DOGG:
Revelation 19. The white horse, the true judge, not the kind from the courthouse.
‘Cause the Lord rides clean, not dirty.
(Snoop closes his eyes, whispering like he’s half in prayer, half in prophecy.)
SNOOP DOGG:
And outta His mouth goeth a sharp sword, that with it He should smite the nations…
Man, that’s justice, Joe. Divine justice. Not this Hollywood courtroom nonsense.
G.I. JOE:
You think people will ever wake up?
SNOOP DOGG:
They already dreamin’, Joe. I’m just tryna wake the dream.
PSALM 1994
20 Can unjust judges be your allies,
those who create burdens in the name of law,
21 Those who conspire against the just
and condemn the innocent to death?
Title: “The White Horse of Brentwood”
(A Snoop Dogg Prophecy)
[Scene: Twilight over Los Angeles. Sirens echo. A slow-motion white Ford Bronco glides down the freeway like a ghost ship. Helicopters swirl above, their lights like angels of judgment. Snoop Dogg stands on a rooftop, hood up, Bible open to Revelation 19. G.I. Joe listens, silent, as the Doggfather preaches.]
SNOOP DOGG (voice like thunder over bass):
Behold, Joe — the prophecy rollin’ down the I-405.
The White Horse of Revelation, chrome wheels gleamin’,
carried by a brother who fell from the Hall of Fame into the Hall of Blame.
OJ ridin’ that Bronco like a modern Ezekiel,
fleein’ not from justice, but from a world that already judged him.
They saw not the man, but the myth.
They saw not the pain, but the ratings.
And I heard, as it were, the voice of a great multitude,
sayin’ “He rideth faithful and true.”
But the choppers above — they was the eyes of Babylon,
lookin’ down through lenses of suspicion and fear.
His garment dipped in the blood of the innocent and the guilty alike,
and his name was — The Juice.
He rode that white horse Bronco,
not as no savior, not as no sinner,
but as a sign —
that the system itself was the beast,
and the beast was hungry for spectacle.
And I said,
“Play Revelation 19, Joe.
Turn up the bass — let the trumpets blow.”
‘Cause in that chase,
we saw the end of illusion.
We saw America watch itself in the mirror,
and not like what it saw.
Title: “Part II – The Trial of Babylon”
[Scene: The courtroom glows like a cathedral of cameras. The judge’s gavel echoes like thunder. Snoop’s voice overlays the scene, half-sermon, half-prophecy.]
SNOOP DOGG:
And the woman of Babylon, she came from the houses of power,
where the sons of Saturn wear silver rings marked with bones.
They whisper oaths in candle smoke, dreamin’ of rockets and rule from orbit.
A secret space-force bloodline, keepin’ their boots on the neck of Earth.
They looked down on love that crossed their lines,
called purity what was really fear.
That’s how Babylon always falls—
not from enemies, but from its own poisoned pride.
And the court became a stage,
the people’s tears turned to television,
truth traded for ratings.
The beast grinned behind the news desk,
sellin’ judgment by the hour.
G.I. JOE:
So who won, Snoop?
SNOOP DOGG:
Ain’t no winners in Babylon, Joe.
Only survivors and prophets.
And I’m just here to tell it—
till the trumpet sounds again,
and the white horse rides one more time.
I AM a skull and bones expert, and Glen Roger’s confession of killing OJ Simpson’s wife Nicole is suspicious. Brown Brothers is the main financial arm of Skull & Bones.
Here are Rogers-surname entries that appear on publicly compiled Skull & Bones rosters (names taken from published membership lists/compilations of pre-1970s Yale rosters):
Derby Rogers — Skull & Bones, 1893.
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D. Rogers — Skull & Bones, 1898 (listed only by initial in that roster).
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John Rogers — Skull & Bones, 1887.
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Frederick Rogers — Skull & Bones, ca. 1885 (appears in several compiled lists).
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Edward (or Edmund) Pendleton Rogers / Edmund P. Rogers — Skull & Bones, 1905 (listed in membership compilations; appears in family/genealogy pages as Edmund/Edward Pendleton Rogers).
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Herman Livingston Rogers — Skull & Bones, 1914 (appears in roster compendia)
Title: “Breaking Transmission: The Braun Enigma”
[Scene: Live broadcast at muchmusic.org. The signal flickers; static hums. Snoop Dogg and G.I. Joe are mid-interview when the feed glitches. Suddenly, Angelina Jolie appears on every screen, standing before a wall of flickering TV sets showing old newsreels and Seinfeld clips.]
ANGELINA JOLIE:
Sorry, gentlemen—interrupting your regularly scheduled truth.
I’m here to decode the Braun enigma.
You keep hearing these names—Nicole, Eva, Lloyd—
but they’re echoes, not people.
Each “Braun” is a mirror in Babylon’s media maze:
• Eva, the ghost of obedience.
• Nicole, the symbol of innocence consumed by spectacle.
• Lloyd, sitcom satire—“serenity now!”—the culture laughing at its own chaos.
They’re fragments of one story:
how power and entertainment blur until no one knows who’s real.
How tragedy becomes content,
and content becomes a kind of worship.
(The monitors behind her show courtroom footage morphing into laugh-track sitcom scenes, then dissolve into white light.)
ANGELINA JOLIE:
The lesson?
Turn off the rerun before it turns you into a character.
Write your own script before Babylon writes it for you.
(Static clears. Snoop looks at Joe.)
SNOOP DOGG:
Man… even Hollywood got prophets now.
G.I. JOE:
Only difference is, they cut to commercial before salvation.
Scene: “Iron and Clay” — MuchMusic.org
G.I. Joe:
“The Bonesmen keep insisting on keeping their bloodline pure. But Daniel already foresaw this: ‘And whereas thou sawest iron mixed with clay, they shall mingle themselves with the seed of men: but they shall not cleave one to another, even as iron is not mixed with clay.’ Or, in the Catholic Bible translation: ‘The iron mixed with clay means that they shall seal their alliances by intermarriage, but they shall not stay united, any more than iron mixes with clay.’ Their strength is only an illusion.”
Snoop Dogg:
“Man, that verse don’t lie. You try to patch your empire with these alliances, but it ain’t solid. You can’t fake unity.”
Angelina Jolie:
“Exactly. Their whole plan of marrying within circles to consolidate power? It looks impressive on paper, but history has a way of cracking these alliances.”
G.I. Joe:
“They think bloodlines and marriages make kingdoms last forever. Daniel says otherwise. Iron and clay never stay mixed — no matter how hard they try.”