Assuredly, this installment will offend most classic rock fans everywhere.
So be it.
Behind the beguiling melodies and glittering and romantic image, lurks a destructive social agenda. After all, a population under the influence of sex, drugs, and rock and roll becomes a vulnerable mass ripe for further political and social manipulations. Many, if not all of the superstar pop and rock stars one worships and adores are merely vessels and puppets of the ruling elite Jesuit bloodlines, soldiers enlisted in a globally coordinated scheme of psychological and perhaps even spiritual warfare.
Be that as it may, the sphere of the commercial music industry, perhaps just as much if not more so than any field of human endeavor, one shall find propped up with the illusion of smoke and mirrors. Nostalgia is a powerful myth making elixir, and is therefore heavily utilized as a prime weapon of psychological warfare upon the masses.
One doesn’t have to be a music industry aficionado to observe many classic rock bands have chosen to persist, some rather pathetically, in attempting to reclaim the superstar status of their youthful glory days. All too often, the generations that came of age during the acts glory years, are willing to pay the overly inflated price of admission to once again travel back in time to relive the gilded memories of forgotten prom dances.
This installment will include a rather damning story involving a superstar classic rock band and a dedicated albeit disgruntled fan, as well detail the hoax that rocked the music industry.
Idol worship is designed to keep humanity at a juvenile level of childhood wish fulfillment, emotionally vulnerable to the crass psychological manipulations of the ruling elite families.
The global pop music industry, in addition to existing as a profit generating engine of commerce, serves as a very effective social engineering tool. It is nothing if not a colossal myth making machine, a scripted theater to keep the masses occupied with bread and circus.
Pop musicians and the romantic myths surrounding them become immortal images and holy totems that the masses aspire to emulate, both in fashion and with behavior. One such classic rock band to have reached mythical and iconic status is called Def Leppard. The upward trajectory of the band’s career correlated with the advent of music television or MTV in the 1980’s.
Def Leppard and the golden age of MTV
For a short time in the 1980’s, a rock band called Def Leppard rose to the pantheon of rock stardom, and for a period of five short years, along with Bruce Springsteen, Madonna, and Michael Jackson, became the darlings of music television.
Like most rock and pop acts of the 1980’s MTV era, however, the sound of Def Leppard was heavily reliant on a competent studio producer, John ‘Mutt’ Lange, to heavily burnish both their rough compositions and gritty aural presentation into a shining audio Valhalla. In various interviews with band members throughout the subsequent decades, this fact alone was not only alluded to on several occasions, they admitted without the valuable services of Lange, the sonic majesty and colossal commercial success of both of their signature albums ‘Pyromania’ and the multi-platinum ‘Hysteria’ would likely not have been possible.
Prior to working with Def Leppard, Lange had previously worked his especial brand of aural magic with other popular and chart topping acts such as AC/DC and Foreigner. Lange is a rather elusive figure. He does not conduct pubic interviews, and the availability of personal information, other than than the paucity of biographical tidbits offered on Wikipedia, is rather scant.
Before composing all of Def Leppard’s hits, Lange’s reputation as a platinum hit maker was already well established. Less well known or documented, is the fact Lange was an expert at sound architecture, a concept he would expertly and auspiciously use to the considerable betterment of Def Leppard’s career. In truth, Lange, ever the professional musical craftsman, whipped a marginally talented bar band into a stellar group of stadium headlining superstars.
Turns out, Lange was to Def Leppard what George Martin was to the Beatles or Phil Spector to the girl and vocal duo groups of the 1960’s such as the Ronettes and the Righteous brothers-a genius composer and sound architect. Arguably, Def Leppard would not have achieved the pinnacle of popular success without having wisely enlisted the services of one John ‘Mutt’ Lange.
What is meant by the term sound architecture?
Sound architecture is the manipulation of musical vibrations and frequencies to achieve a desired emotional and behavioral response. It has long been known by the ruling elite families the all-encompassing influence music can have on society, politics, and economics.
In fact, contrary to popular opinion, empirical data from behavioral scientists well acknowledges this fact.
In turn, the ruling elite families understand the inextricable and comprehensive relationship between the behavioral sciences and the political, social, and economic realms of human endeavor. This is why every thirty second commercial spot, whether aired on the internet, television, or radio is accompanied by a musical ‘jingle’, designed to prepare and open the mind to the power of suggestion, leaving it most vulnerable to the earnest entreaties one may hear in the sales pitch’s sound bite.
So it is with the marketing of pop music, designed not only to satisfy commercial interests, but to influence social behaviors conducive not only to the profitability of commercial ventures, but behaviors which will satisfy the political agendas of the ruling elite Jesuit families.
Thus, music has long been utilized as a tool of social and political engineering.
This is why pop music and pop music artists are tools of the social engineers at Tavistock Institute of Human Relations, which represents the ruling elite’s ‘Ministry of Truth’. Popular music producers like Lange understand the especial bio-acoustical, geometric, harmonic, and bio-energetic dynamic between music and the human senses. It is well known the human body’s biological design consists of more than eighty percent of water.
This means that the human body, under the influence of music attuned to certain frequencies, becomes a liquid crystal superconductor. The field of sound architecture, analogous to studies done in the fields of electro-genetics, demonstrates that light (photons) and sound (phonons) signal communications between and within biological cells, via the human body’s liquid crystal protean-glycan matrix of cells and tissues. Given these facts, and regardless the genre of popular music utilized, musical history is one of the foundation stones keeping the ruling elite’s status quo intact, and taking it a step further, perhaps instrumental in the cause of contemporary social and cultural crises, including modern pandemic psychopathology.
In essence, individuals like George Martin, Phil Spector, and the legendary John ‘Mutt’ Lange, are not just elite popular music producers, but play a key role in the service of public behavioral modification as scientific sound architecturalists.
These gifted professionals knew and understood that when attuned properly, musical frequencies can appeal to either the higher spiritual mind of love and creativity, or the lower animal nature of survival, greed, and material consumerism. The latter behavior set, of course, is most conducive to the profitability of global commerce, and useful to the iron fist governance of the ruling elite families, upon whom the masses have been conditioned to rely upon for their social safety and economic sustenance.
Professionals such as Lange, also understand how callow but ambitious musicians such as Def Leppard, minimal though their actual musical skills may be, can be easily molded to fit an attractive image and a profitable commercial market. Such ambitious but marginally gifted youth are always useful to the ruling elite families and the perpetual maintenance of their commercial, social, economic, and political hegemonic status.
The artwork displayed on Def Leppard’s 1983 breakthrough recording entitled ‘Pyromania’ features what appears now as an eerie foreshadowing of the fateful event that would occur eighteen (666) years later on September 11, 2001. Perhaps even more eerily, the lyrics of Pyromania’s ‘Billy’s got a gun’ seem to foreshadow the brutal act of a mentally disturbed and automatic weapon toting youth endeavoring to embark on a random killing spree comparable to the mass media reported exploits of Sandy Hook’s Adam Lanza in December of 2012.
In truth, pop music artists are often utilized in such exercises of what is termed ‘predictive programming’, the subconscious social conditioning of the masses towards the eventuality of some predetermined event concocted by the ruling elites in creating order out of chaos.
One armed drummer hoax
As if the aforementioned assertions weren’t controversial enough, what follows shall assuredly be considered by classic rock fans as positively heretical. In the wake of Def Leppard’s commercial breakthrough ‘Pyromania’, tragedy struck the bands career-or so it appeared. Posed as the quintessential rock and roll party bad boys, no one questioned the details of a rock star cracking up his sports car while inebriated on drugs and alcohol. Retrospectively however, there are anomalies to the so-called tragic story of Def Leppard’s Rick Allen and his amputated extremity.
If one examines the video posted above, one can readily observe it has been digitally enhanced with CGI in post production. In other words, it is a cruel and manipulative fraud. Utilizing computer graphics video morphing, and rather sloppily at that, the face of Def Leppard drummer Rick Allen has been superimposed in a set series of frames starting at approximately 5:41 and running through until 5:53. The question remains, why, if the tragic accident was actual, would the band’s representatives and management feel it necessary to digitally enhance a video presented to the public?
The answer is that a tragic figure made into mythic hero can more easily dupe the public with emotional manipulation.
The only commercial scenario more profitable than the death of a rock and roll superstar is one that nearly escapes tragic death to later emerge as a triumphant and sympathetic demigod.
To one’s considered analysis, the lone anomaly invalidating the likelihood of Rick Allen surviving such a deeply traumatic event is the fact that since a femoral artery was severed by the act of complete amputation due to a violent car crash, without immediate tourniquet application and competent prevention of hypovolemic shock, it is most likely that within minutes the victim would have perished from severe blood loss.
Listening to the account of the witness who allegedly located Allen and the wrecked sports car in an abandoned field, one gets the impression it had been more than several minutes after the crash had taken place, therefore making the heroic tale of his survival from the onset of severe bleeding and shock negligible at best.
In this second video, which includes key excerpts from VH1’s Behind the Music expose on the career of Def Leppard, the story of two alleged witnesses from the evening of band member Rick Allen’s tragic accident is dubiously recounted.
With objective discernment, one can intuit the deception deepens.
As Allen himself recounts the story from alleged memory, subjective analysis of his body language, manner of speech, and eye movement, reveals one is looking at an individual engaging in dubious behavior, and most likely Allen was embroiled, perhaps even blackmailed into a conspiratorial canard concocted by his corporate masters.
Subsequent to his so-called tragic accident, Allen was sent out on a tour of fund raising drives for various non-profits set up by his ruling elite benefactors.
One of the largest stockholders of the bands record label, Mercury/Polygram, prior to being swept up in a corporate takeover by Vivendi’s Universal Entertainment Group, was Phillips Electronics, a subsidiary of General Electric, a mainstay of the global military industrial complex. Universal Music Group’s largest shareholders are BlackRock Inc. and Rothschild Asset Management.
As detailed in an earlier installment (See: Vegas shooting hoax: the real story), not only is BlackRock a major investor in the Mandalay Bay Hotel Resort, but is also a major stockholder of L3 technologies, the largest producers of brain invasive body scanners. Though there may be those among the regular visitors to Newsspellcom.org not yet convinced all major corporations are indeed tied together under the umbrella of the thirteen ruling elite bloodlines, one challenges you to follow the money and see what you come up with.
Assuredly, with a genuine effort at compiling research, similarly astounding conclusions will be made.
At any rate, unknown to the public, is that most of the major non-profits Rick Allen shilled for, subsequent to his accident, are also tied in with some of the worlds largest and most profitable corporations. Though some may scoff and find the idea inconceivable, non-profits are ironically colossal profit generating engines for the global commercial machine owned and operated by the thirteen ruling elite Jesuit bloodlines. In the case of Def Leppard’s Rick Allen, the ruling elites utilized one of their most publicly visible corporate assets to emotionally manipulate the public through a cynically motivated ruse to greatly increase their profit margins.
Debacle on the high seas
Listening to the audio from the above video of the classic rock fan asserting allegations of having been fleeced by the corporate puppets in Def Leppard was truly eye opening to say the very least. Needless to say, this is quite indicative of the fact most superstar entertainers are much like their corporate benefactors, in that they value profits over any humanist considerations.
Forgetting for a moment that at the time of this story being only recently recounted, the band Def Leppard had well eclipsed their superstar heyday, and long ago should have been content to slip quietly away into retirement. But, with the hope of fulfilling his childlike dream of being placed in proximity to his youthful rock and roll heroes, apparently this disgruntled classic rock fan, his wife, as well as others, were criminally bamboozled out of thousands of dollars for merely nothing other than broken promises.
Needless to say, this is a tale of a dream cruelly deferred.
Apparently, not only were these generation X classic rock fans bilked out of their hard earned money for promises of a live performance from their heroes that wasn’t delivered, but they were guilt tripped by the band members to donate to a corporate charity called ‘children of the night’. This is ironic, given that the ruling elite bloodlines that own Def Leppard’s record label and the charity in question are some of the most egregious traffickers in child pornography and child sex slavery.
What a wonderful world, huh folks?