Though surely, there are those who think it may be unbecoming, one simply could not resist the urge to gloat. Merely one day after identifying Roseanne Barr (See: Lottery: the longer you play the more you pay) starring as a host actor in a fake lottery commercial, the elite controllers have chosen to pull the plug on Roseanne’s television show:

Though perhaps it would be presumptuous to imagine, nevertheless, the ruling elites are beginning to run scared from the overwhelming possibility the peasants are catching on to their decades and even centuries of psychologically based nonsense. And I’m certain the loyal readers here at Newsspell have become aware this may be so.

At any rate, on to the matter at hand.

Rock and pop superstars, of the type that transcend the parameters of entertainment to become almost archetypal totems in the public consciousness, are also merely tools of the ruling elite Jesuit families. After all, when an entire industry becomes monopolized by a handful of colossally powerful financial interests, those contracted to work on behalf of elite, monopoly business interests can be built up into culturally influential figures, figures that can, in turn, influence public behaviors for the benefit of globally expanding commercial interests.

One must comprehend that the music business, and to a very large extent the whole of the entertainment industry, including sports, represents a colossal psychological operation, designed not only to increase commercial profits through the presentation of bread and circuses, but also to shape human perceptions of prevailing culture, politics, and to shape and mold mass human consciousness itself.

There is oftentimes an overlooked irony concerning the concept of popular music, in that, while representing a ‘universal language’ capable of enchanting millions from all walks of life across social, political, and economic boundaries, many still refuse to believe or are yet unaware of the more profound and lasting effects – mostly negative due to the intention of its clandestine purpose – upon psychological and behavioral entrainment, designed to segment humanity into units of commercial demographics that can be profitably exploited by the prevailing commercial system of the ruling elites.

In this installment, the aspect of psychological entrainment as it relates to the mass marketing of popular music shall be investigated and explored a bit further.

But first, one shall reveal even further evidence of the actor based reality of psychological operations as it pertains to the profit making machinery of the pop music industry.

For, as one shall soon discover, a pair of iconic, popular performers of the past decades were indeed, not who they claimed to be, and were, incredibly enough, portrayed by the same host actor.

Although the following observation may not strike one as profound, nevertheless, the role of a pop music artist’s image – in terms of ultimately determining levels of mass popularity – has historically meant the difference between establishing a platinum level selling act headlining stadiums and hockey arenas, and an artist barely struggling to fill theaters and nightclubs, and as they say in the industry – “move units.”

In essence, for many artists pursuing a professional career in the music industry, it is either feast or famine, a destiny of extremes between the heights of superstardom or the dregs of obscurity. For the following artists, however, the rapid and skyrocketing advancement of their careers would definitively fall into the former category.

But, the general public has never been aware two of these artists (David Cassidy/Rick Springfield) were both portrayed by the same host actor – utter rubbish, you say?

Scoff if you must, but remember one thing.

As one has empirically demonstrated in past installments, the music and entertainment industries are squarely positioned upon the cornerstone of nepotism, and not merit. Although, it is fair to say, in the case of the aforementioned artists, though their careers may have been primarily hoisted into the limelight as a result of nepotism, their demonstrated talents were more than worthy of mass public acclaim.

One must also understand, that such artists are trained virtually from the cradle by the world’s finest tutors and instructors, both in the artistic pursuits of theatrical arts and musical performance. By the time they reach adolescence and full fledged adulthood, they are thoroughly prepared to assume their elevated mantels of mass popularity. Artists such as this do not become colossal stars of stage and screen by mere chance, for the ruling elites never gamble with commercial investments.

Though it is remarkable enough that both the artists known as Rick Springfield and David Cassidy (Billy Idol – believe it or not – has a direct career relation to Springfield and Cassidy, but one shall get to that in a moment) were both portrayed by the same host actor, the character transition was pulled off with the aplomb of an illusionist’s brilliant biographical sleight of hand.

More remarkable still, are the host actor’s genuine genealogical relations – to a former presidential character known as Richard Nixon (portrayed by host actor Warren Beatty), and a latter day, divisive political character that still remains in the forefront of public consciousness – Hillary Clinton (Annette Benning/Shirley Jones).

However, given Beatty’s notorious reputation in Hollywood as a womanizing cad, there is every indication “Springfield” was sired not by Beatty and Benning, but as the result of an affair conducted between Beatty and British actress Joan Collins during the era of the early 1950’s.

If one still can’t conceive of the notion that two of the aforementioned pop artists may have been portrayed by the same host actor, for once, one shall challenge loyal readers and newcomers alike to judge for themselves. Allow one to draw your attention to the facial landmarks of both of the artists known as Springfield and Cassidy observable in each of the videos displayed above.

If you will, notice the slope of the brow ridges and the epidermal contours around the eyes, the contour of the chins, and forgetting the distractions of light and lens distortions, observe each with a cold and objective remove.

Can you not see through the character illusions – see through the disguising facades utilized to skillfully conceal the identity of the host actor beneath, to disguise the truth that the entertainment industry is based not on merit but nepotism – and truly observe that the music industry is primarily concerned with the pursuit of profits rather than the elevation of musical art forms?

In examining each artist’s biographies, not only did one readily observe the usual anomalies, but one was able to pinpoint the gaps within the chronological timetables of both Springfield’s and Cassidy’s careers as to when and how it was the host actor may have been able to successfully assume each character guise without rousing the suspicions of the general public.

In the case of Springfield (it is alleged the artist’s birth name was Springthorpe), his biography is interesting but typical, typical of the sort of dubiously anomalous biography one has documented before when it comes to examining the stellar careers of pop artists and high level political figures hoisted to unprecedented levels of pubic acclaim and renown.

In other words, folks, they were most likely complete fabrications, of the sort high level military and intelligence agents would concoct.

Allegedly born in 1949 (though one must learn to never take literal stock in pop star biographies), Springfield was raised by a military family, and it is claimed his alleged “biological” father (Norman James Springthorpe) was a lieutenant colonel in the Australian army. Loyal readers shall recall that military connections, and more than one featuring the rank of “colonel” have been encountered before in connections with Hollywood celebrities, pop stars and various psychological operations.

Colonel Tom Parker, a member of the Joint Chiefs of Staff during the 1950’s and 60’s, was responsible for the handling of the intelligence operation involving Elvis Presley (Michael Rockefeller). There was also Colonel Paul Tate, father of the “late” Hollywood actress Sharon Tate, who was involved with staging and most likely directing the grisly psychological operation of the Manson “serial murders” of the late 1960’s (See: Actor’s in history’s grand stage play part VII). There was also Admiral Stephen Morrison, father of the “late” Jim Morrison (AKA actor/SNL comedian Chevy Chase), lead vocalist of the American classic rock band the Doors, who was instrumental in the psychological operation known in the American history books as the Gulf of Tonkin incident that precipitated the so-called Vietnam war.

Colonel Norman Springthorpe

Per Wikipedia and other mainstream, biographical sources, the artist known as Rick Springfield began his life with the name Springthorpe, and was raised in a comfortable suburban enclave on the outskirts of Sydney, Australia. More curious than the name, is the fact Springfield’s voice, as indicated from the audio culled from various interviews, lacks traces of the distinctive, accented twang common to most residents of that part of the world.

More tellingly, the pictures alleged to have been culled from scrapbooks chronicling Springfield’s childhood in Sydney, and even those photos culled from his incipient music and acting career in Hollywood during the era of the early to mid-1970’s appear to have been photo shopped or cut and pasted, almost as if someone were putting together a chronological record and backstory of a fictional character. You can see some of them featured here in the following video:

Now here’s where things regarding the biography of the alleged “Springfield” gets interesting, folks. The name “Springthorpe” carries with it more than especial relevance regarding the development of a massive psychological operation known as Operation Phoenix, an operation designed by social scientists employed by London’s Tavistock Institute of Human Relations. Like the manufactured rise to unprecedented international fame of the Beatles Springfield may have witnessed and even been inspired by during the formative years of his youth, the prefabricated rocket ride to pop music renown of the character known as “Rick Springfield” during the advent of MTV, represented but one elemental part of a much grander program meticulously planned by the ruling elites – utilizing Tavistock Institute in association with London’s Royal College of Physicians – to shape the post-war social and political landscape of the West into their dystopian image.

Doctor John William Springthorpe

During the first half of the twentieth century, John William Springthorpe became Australia’s most renowned epileptologist and a noted neuroscientist. As a noted physician, his reputation first reached prominence during the first world conflict while serving in the Australian Medical Corps when he became senior physician to No.2 Australian General Hospital (Rick Springfield went on in the 1980’s to star as Doctor Noah Drake in the American daytime “soap opera” entitled General Hospital – coincidence?).

A highly touted graduate of Melbourne University’s School of Medicine, Doctor Springthorpe was first employed as the chief medical officer at Beechworth Lunatic Asylum, and later in his noted career, before the beginning of the first world conflict, he published dual, peer reviewed volumes, based on the psychoanalytic studies of Doctor’s Sigmund Freud and Carl Jung, entitled Therapeutics, Dietetics and Hygiene.

Still later, Springthorpe was the first Australian of his profession to join the prestigious Royal College of Physicians in London, the same Royal College that created, in collusion with Tavistock, Operation Phoenix, the massive sociological and psychological experiment that came to be known as the American Counter-Culture and Feminist movements.

The findings of “shell shock” studies compiled by doctors such as Springthorpe during both world conflicts of the twentieth century, would eventually manifest into Operation Phoenix, a series of social and political movements funded by the Rockefeller Foundation to shape the prevailing culture of the West in ways desired by and advantageous to the global commercial system of the thirteen ruling elite Jesuit families. And during the decades of the 1950’s through to the 1960’s, American pop and rock music would play a significant role as a “silent weapon” of psychological, sociological and cultural destabilization.

To explain further, and for one to arrive at an incipient but by no means comprehensive understanding of just what Tavistock Institute’s Operation Phoenix entailed, one must first understand that in the minds of the ruling elite Jesuit families – though the masses are conditioned, educated, and led to believe otherwise – the concepts of economics, neuropsychology and sociology are inextricably linked, and all three elements collectively marked the operation’s cornerstone. Subsequent to the second world conflict, the social scientists at Tavistock, based on the work of neuroscientists such as John William Springthorpe, were able to develop consensus based concepts which were effectively utilized to manipulate mass populations in the West through conscious and subconscious psychoanalytic techniques. Thus, Operation Phoenix was launched upon the American masses, and constituted a covert strategy Tavistock termed “Social Environmental Turbulence.”

The introduction of amplified, elementary and repetitive musical arrangements – what came to become known as Rock and Roll – represented an effort to foment social change through psychological and sociological crisis. This strategically formulated attack upon Western culture was purposefully designed to fragment the traditional ideals of the subjected population. In essence folks, the social scientists at Tavistock, due to the work of Springthorpe and others, planned – through the proliferation of pornography, feminism, abortion, homosexuality, sexual exploitation, the increase of urban crime, and yes folks, rock and roll – to deliberately cause order out of fabricated chaos, the effects of which are still being felt today. If this explanation does not appear succinct enough, one shall provide a statement from the founder of Tavistock, John Rawlings Reese:

“Their {the social scientists of Tavistock’s post-war Interim Planning Committee} job is to apply the advanced techniques of psychological warfare as we know them to whole population groups that will grow even larger, so that more whole populations can be more easily controlled. In a world driven completely mad, groups of Tavistock psychologists linked to each other, capable of influencing the political and governmental field must be arbiters, the power cabal.” (source: https://philosophyofmetrics.com/tavistock-created-donald-trump/)

That’s right folks, under the cover of “war” (controlled demolition/strategic relocation) manufactured by the thirteen ruling elite Jesuit families, the social scientists, scientists such as John William Springthorpe and others, observed the masses of humanity under crisis conditions like shocked and confused rats locked in laboratory cages, and all to perfect their understanding of mass human psychology so it could later be manipulated and shaped like clay in the hands of expert sculptors. The creation of the popular genre of music that came to be known as rock and roll was one, but no less prominent tool, utilized to augment the effectiveness of Tavistock’s grand program of mass sociological, economic, and psychological manipulation.

Though further examination does not indicate there exists a direct genealogical relation between the renowned John William Springthorpe and Lieutenant Colonel Norman Springthorpe, alleged to have been Springfield’s late father, the work and career of John William Springthorpe remains apropos.

Most curiously, regarding the genealogical relations of Springfield’s alleged father, Lieutenant Colonel Norman James Springthorpe, by all indications was an only child, and mysteriously, any details of his alleged mother, Wilhelmina, appear to have been scrubbed or are remarkably incomplete.

Perhaps even more intriguingly, Lieutenant Colonel Springthorpe’s death is listed as occurring in 1981, at age 61 (seven/Kabbalah zayin/mind weapon/nine (Satan’s number)/19/Jesuit sun number), and there is no cause of death listed.

One shall observe from the content presented in the video displayed above, that the narrator conveniently glosses over any deeper details of Springthorpe’s military career, only to point out – no doubt to add the requisite melodrama to the biographical proceedings – that Colonel Springthorpe tragically perished when his son Rick was off in Hollywood, and by then just beginning to tread the cusp of pop music renown.

Noteworthy too, are both the occult and masonic markers included in this video – if one knows what to look for.

The ruling elites never count on the fact that perhaps there may be those numbered among the peasants who just may decide to investigate the details – which are often found to be inherently flawed – of those considered to be celebrities, politicians or pop stars.

Rock and roll “shock and awe”

Regarding the noted Australian neuroscientist John William Springthorpe, his studies in neuroscience were quite well known among his colleagues during his lifetime.

In examining the relationship between neuroscience and the effects of behavioral and psychological entrainment, it is fascinating to note that listening to one’s favorite pop song and reveling in the qualities of it aural pleasures can be just as addictive as one’s consumming of drugs or alcohol, and just as destructive.

The results of a recent study, conducted at McGill University and reported in the journal Scientific Reports, demonstrated that the same brain-chemical system that governs feelings of pleasure from sex, recreational drugs, and food is also critical to experiencing pleasure derived from the listening of pop music. The comments of the study paper’s senior author, cognitive psychologist, Daniel Levitin, prove to be quite revealing regarding the relationship between the stimulation of pleasure centers of the brain and the consuming of pop music. With the utilization of neuroimaging to map areas of the brain that were active during moments of musical pleasure, Levitin’s team was able to infer the involvement of the opioid system.

(See: https://www.google.com/amp/neurosciencenews.com/music-opioid-system-6081/amp/)

Levitin’s remarks concerning the results of his scientific inquiry are quite telling, and through confirmation of his study’s hypothesis, he and his team were able to confirm there is not only a direct relationship between activation of the brain’s pleasure centers and the consuming of popular music, but that those same pleasure centers, or opioid systems, are identical to those activated during the consuming of alcohol and recreational drugs:

“This is first demonstration that the brain’s own opioids are directly involved in musical pleasure,” Levitin claimed.

Although Levitin claims understanding the neurochemical roots of pleasure has been sought by scientists for a number of decades, he also claims that it has been only until very recently in the 21st century that he and his colleagues working in the field of neuroscience have begun to develop the necessary tools facilitating research with human subjects. This claim is very likely untrue, for whenever existence of such scientific studies reach the pages of mainstream sources, one can infer that the conducting of such studies hardly represents a recent development.

A star is born

Regarding the early portions of Rick Springfield’s biography and his development as a musical and performing arts prodigy while still an adolescent, his first major gig came when he and the band he was performing with (Bluesology) received an invitation to perform in – of all places – Vietnam during the mid-1960’s. The chronology of this story is scantily detailed in the video culled from VH1’s “Behind the Music” series, and it appears that most of the photos taken during this time period in Springfield’s career were also either staged, photo shopped/cut and pasted, or both. In the video, Springfield himself alleges that there were times when he and his bandmates were “dodging” incoming enemy fire while performing.

Like the alleged wartime stories of JFK and George H. W. Bush, this was no doubt an embellishment added to Springfield’s biography to give it the necessary dramatic zest to help permanently fix the narrative in the minds of the general public. If one has learned anything in their research of major pop stars, historical figures and politicians, it is that the ruling elites controlling these puppets love nothing more than to add – whenever possible – mythical tales of wartime heroism to their alleged biographies. They have long known and realized the firm establishment of myths and mythical characters rests upon the heroic ideal of the fight for triumphant survival amid adverse or even life threatening crisis.

Subsequent to Springfield’s “Vietnam” experience, he was recruited to join one of Australia’s premiere teen idol acts, Zoot. Judging from the performance witnessed in the following video however – and though perceived to have been a lightweight bubblegum pop band – Zoot was a highly skilled musical unit. In fact, having never heard this band perform before, one came away not only impressed with Springfield’s guitar work and the stunning vocal arrangements, but the band’s interpretive arrangement of the Beatles “Eleanor Rigby” exhibited here is truly impressive:

One must remember, this performance was culled from an Australian variety show in the very same year the band Black Sabbath (a band generally credited with inventing or developing the heavy guitar based genre of rock known as heavy metal the band Zoot puts on display here) released their debut recording. Notice anything else remarkable about the performance demonstrated in this video, folks – the singer perhaps?

Does he appear at all familiar?

He should – for that is none other than the performer that would later become known to 1980’s MTV era rock fans as Billy Idol. Curiously, the elite controllers recently decided to dispense with the character of former Zoot vocalist Daryl Cotton (33) in 2012 at age 62 (2 6’s=12/21/777) and it is claimed the former Zoot vocalist suffered from an alleged bout with cancer.

In the following account cited from an article featured in the Australian Herald Sun (Jesuit reference once again), there are not only the obvious numerological markers, but direct references to Freemasonry as well. The article mentions the name of a band which rivalled Zoot for the top of the Australian pop charts during the era of the late 1960s’ and early 1970’s. And the name of the band – get ready for it, folks – MASTER’S APPRENTICE. And then, there is this eulogizing quote from another of Cotton’s fellow musicians, Russell Morris, contemporary to the era:

“A light (the illuminated of the Freemasonic master’s third degree are said to have received the “light”) has gone out of my life,” Morris said. “A really nice light (had to get that in there twice, one guesses so his lodge brothers would get the message).    (http://www.heraldsun.com.au/news/singer-actor-cotton-loses-battle-with-cancer/news-story/aea974f1a4bd6bd086b61e0d5ebbe371?sv=2c475b92d7ed9f98362201a68f4ff9d2)

Just as an aside, one feels it was quite unfortunate the musical performer known to the world as Rick Springfield did not choose to continue on this career path performing this genre of rock music. Hypothetically, if he had done so, the history of popular music may have been forever altered.

It is at this juncture in Springfield’s (or should we say Beatty’s?) career trajectory that things become very interesting. After a short time with Zoot, Springfield journeyed to Los Angeles, where he was – per the biographical sketch narrated in the video above – signed to recording contracts as a solo artist with some of the industries most renowned and high profile labels – to first Capitol, then Columbia (the CBS logo is a symbolic representation of the sun, identical to that of the Jesuit order).

Alas, Springfield reportedly had little to no success, and the two records consecutively released with each label did not chart, and are now conveniently out of print.

But as one shall soon observe, this is how character illusions are created, in that while one character remains in the public eye, yet another – who can be retrospectively claimed to have suffered in obscurity – can be prepared from behind the curtain and out of sight to maximize commercial profitability from the talents of a single host actor capable of assuming multiple roles. In fact, it wasn’t until the late 1970’s that the character of “Springfield” was introduced and became known to a mass audience, but in the form of a cartoon broadcast on ABC, entitled “Mission Magic”, a title that was more than suggestive of the occult:

Keith “Partridge” 

While the character of “Rick Springfield” was allegedly suffering in pop music obscurity during the era of the early to mid-1970’s, another character that America came to know as Keith Partridge, portrayed by Springfield’s identical host actor (the hidden love child of Warren Beatty and British actress Joan Collins and allegedly raised by a military family), was rapidly ascending to the mantel of fame, fortune and mass notoriety.

The popular American situation comedy, The Partridge Family, aired on prime time American television for four years in the early 1970’s, and thereafter went on to enjoy lucrative syndication runs on various cable television networks during the 1980’s.

It is claimed the writer’s based the show’s premise on the real life musical group The Cowsills, a traveling group of folk singing troubadours. Although the show was panned by critics as rather pedestrian, the show gained enormous popularity with the American public, mainly due to the musical talents demonstrated by a character on the show known as Keith Partridge.

The host actor operating under the pseudonym David Cassidy, the very same that would later become known as Rick Springfield, would go on to transcend the show’s appeal with middle America to become a teen idol phenomenon, performing in sold out stadiums to millions of rabidly screaming fans.

The creation of teen idols serves a sinister social purpose on the part of the ruling elites, to socially condition the callow and impressionable minds of those generations coming of age to the concept of cults of personality, so that later, when they have reached adulthood, they will be prone to easily falling within the false left and right political paradigm, and psychologically seduced through the fear of overriding social pressures, rigidly adhere to whatever charismatic political puppet is selected and posed before the masses as a messianic hero or heroine.

This concept was also meticulously developed by Tavistock, and since the passage of the American post-war period of the twentieth century, has worked its sociological magic on the American masses time and again, bolstering their psychological and vicarious dependence on charismatic heroes, whether presented through the medium of politics, Hollywood, or the music industry.

By the time the career of Keith Partridge/David Cassidy had receded from the public eye, the character of Rick Springfield, introduced to the general public beforehand in cartoon form, was ready to emerge simultaneous with the debut of MTV (masonic music television) in the early 1980’s.

In retrospect, it is possible to observe that the social engineers employed by Tavistock utilized MTV as a conduit for their sociological programming, psychologically anchoring American culture to the low vibration of casual sex and superficial materialism, which benefitted the prevailing global commercial system of the thirteen ruling elite Jesuit families, and turned an entire generation into vacuous narcissists.

Like so many that came before, the character(s) of Rick Springfield/David Cassidy each represented a vehicle for the social agendas of the social engineers at Tavistock. Operation Phoenix is still alive and well, as one can readily observe with the ongoing #Metoo and Black Lives Matter movements, overwhelmingly staffed with government paid agitators, and legions of useful dupes and clueless “social justice warriors” unable to peer beyond the superficial gloss of thinly veiled propaganda.

But surely, by now, the loyal readers here at Newsspell see through it all, don’t you, folks?

 

 

 

 

One thought on “Unholy trinity: Sex, drugs and rock and roll (part V)

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